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MADELEINE MITCHELL PLAYS HOWARD BLAKE, Madeleine Mitchell,violin; Howard Blake,piano STREAMED LIVE on 20th September 2020 at 4.00pm, St. Mary's, Perivale,near Ealing (outside London} Link to view: https://www.st-marys-perivale.org.uk/events-2020-09-20.shtml

20th September 2020
Pennillion op. 571- Variations on a folk-like theme
Violin Sonata op. 566 - Allegro, Lento, Vivace
'The Ice Princess & the Snowman' op.557
'Jazz Dances' op.520a Folk Ballad, Jazz Waltz, Galop
'Walking in the Air', from The Snowman op.371a, arr. by HB for MM
 
Composer's note. 'Pennillion' was originally composed for Jack Rothstein in 1973 when he also suggested the sonata, composed in the same year. However the first definitive recordings were not made until the album for Naxos made by today's soloists in 2005. 'The Ice Princess & the Snowman' op.557 was arranged for violin and piano at Madeleine's special request, as were all the 'Jazz Dances' op.520a and  'Walking in the Air', from The Snowman op.371a!
 
 






HOWARD AND CHANNEL 4, A FILMED INTERVIEW - 'C4 GOES BACK TO...', A filmed interview with Howard made on Wednesday 18th August 2020 for a series about the 40 years of TV Channel 4, which virtually started on October 1 1981 when Jeremy Isaacs viewed Howard's 8-minute demo of the symphonic animation film 'The Snowman' and decided to make it with the new channel. Howard tells just how that came about.

19th August 2020

SOLILOQUY FOR SOLO CELLO - BENEDICT KLOECKNER, Benedict Kloeckner Cellist Founder & Artistic Director Internationales Musikfestival Koblenz, Kloster Eberbach,Germany

19th July 2020

Howard writes: 'Written in the midst of the Corona virus lockdown Benedict opened his solo cello recital with 'Soliloquy' my new piece composed at his request - which expressively reflects the tragedy of the times but ends on a note of hope for the future.

Benedict wrote :'There is a review of your new cello solo piece in the Frankfurter Allgemeine Zeitung, which is one of the most important newspapers in Germany. People loved your piece!!

https://wetransfer.com/downloads/a4db031323ef1075dfdb76ec31713d5b20200714141241/801fbadfa5d46ff55b38cbaa2fa8dbe920200714141304/29213d



 

AGATHA - ALBUM RELEASE OF THE 'LOST SCORE' HOLLYWOOD 2020, A NEW RELEASE OF AN ALBUM OF THE ORIGINAL FILM SCORE BY HOWARD BLAKE COMPOSED IN 1978 Howard Blake conducted The National Philharmonic Orchestra (leader Sidney Sax), for the score of the feature film made in 1978 starring Dustin Hoffmann and Vanessa Redgrave, This is the release of a complete soundtrack recording in 2020 under the title 'Agatha - music inspired by the motion picture.' The score was dubbed onto the film and given an enthusiastic reception at BAFTA. However, at the instigation of Vanessa Redgrave and a replacement producer, Jarvis Astaire, this large and opulent period-sounding score was scrapped and replaced by something much smaller and more contemporary.

24th July 2020

Warner Brothers/Sweetwall First Artists/Casablanca Productions

Producers Lord David Puttnam, Gaverick Losey

Director Michael Apted

Editor Jim Clarke

'Agatha' the feature film told the story of Agatha Christie's disappearance in 1927. Under a false name she had in fact escaped from public view to The Swan Hotel, Harrogate, where much of this film was shot, making much use of its splendid ballroom.There were two pre-production recordings of period incidental music for the ballroom scenes made on 22 Oct, 1978, 10-1 and 4-7, 1978. They featured a typical period piano trio - violin Sidney Sax, cello Reginald Kilbey, piano Howard Blake.   Existing period music included:

My wonderful one; I love the moon; I wonder where my baby is tonigh; Yessir that's my baby; They didn't believe me; 'Softly awakes my heart' from Samson and Delilah by Saint-Saens; HMS Pinafore, Sullivan; Somewhere a voice is calling; Serenade -Heykens,  plus a theme tune for the film by Howard himself entitled 'Could it be you'.

A post-production recording of further incidental music took place 14th April 1978 10.00 --5.00

The main original music soundtrack score composed and conducted by Howard Blake was recorded at CTS Studio 1, Wembley: 19, 20, 21 October 1978. Recording engineer John Richards.

THE CD ALBUM IS RELEASED UNDER LICENSE BY

DRAGON'S DOMAIN RECORDS DDR 687

A DIVISION OF BUYSOUNDTRAX.COM

2828 COCHRAN STREET #287

SIMI VALLEY, CA 93065, USA

PHONE/CELL/TEXT  818-209-908

E-MAIL: fordat1@aol.com

 

 


PIANO CONCERTO - JULIAN TREVELYAN, JOHN GIBBONS, Julian Trevelyan piano, John Gibbons conductor, Howard Blake narrator, Worthing Symphony Orchestra "Walking In The Air" concert at Assembly Hall, Friday 31 January 2020 (7.30pm)

31st January 2020

Worthing Symphony Orchestra “Walking In The Air” concert - review

REVIEW BY Richard Amey

Thursday, 6th February 2020, 11:15 am
Updated Thursday, 6th February 2020, 11:17 amWSO Conductor John Gibbons

Worthing Symphony Orchestra “Walking In The Air” concert at Assembly Hall, Friday 31 January 2020 (7.30pm), composer Howard Blake (narrator), John Alley (piano), Victoria Ridgway (singer) John Gibbons BEM (conductor), Julian Trevelyan (concerto piano).

Nik Rimsky-Korsakov, Dance of The Tumblers (from The Snow Maiden); Fred Delius, Sleigh Ride; Emil Waldteufel, Skaters Waltz; Howie Blake, The Snowman, concert version; Pete Tchaikovsky, Waltz (from Swan Lake); Leroy Anderson, Sleigh Ride; Johnny Sibelius, March (from Karelia Suite); Howie Blake (again), Piano Concerto Op142 (/650+).

It was as though Sergei Prokofiev had been right there, narrating his own Peter And The Wolf with Worthing Symphony Orchestra. To audience surprise, Howard Blake was doing the same in The Snowman – a children’s composition of parallel universal success composed by he, an ex-Brighton & Hove Grammar School boy, and with some primary and secondary classmates in the audience.

Unbilled except last-minute on social media, Blake told me he was narrating a Snowman concert performance for the first time in five years. He was standing in for also-unpublicised actor Bernard Cribbins OBE, whose wife was unwell. Wombles voice-over Cribbins reached 91 in December. A month earlier, Blake OBE made it to 81, although he scarcely moves or looks older than 70. That’s the therapy of music for you.

Blake’s own ‘local lad makes good’ story happened 40 years ago when his idea of a TV cartoon outlawing dialogue struck gold. Instead, it’s musically with descriptive richness and synchronised with the precision of a Tchaikovsky-Petipa ballet, and delivering a hit song that seasonally sits alongside Irving Berlin’s White Christmas.

The familiar I’m Walking In The Air – the only words heard in the cartoon film – is sung by the Boy when the Snowman he has built suddenly lifts him up into flight, out over Brighton and up to the North Pole for a knees-up at a snowmen’s party visited by Father Christmas. A thaw-surviving scarf from that is living proof it happened for real, trumping at Christmas the Nutcracker Doll that can only underline a dream.

Now it was happening right here, without the images but with author Raymond Briggs’ dialogue pointed up by Blake’s music. A different and rewarding audience experience this way round. And a master class in light film music orchestration . . .

Sleep? Harp or strings. Fun building a snowman? Fairy harp and chirpy flute. Snowman greets his young creator? Cheery piccolo. Atmosphere around the boy’s house? Sober, nostalgic oboe. Terrified fleeing cat? Screeching strings. Snowman curious about human life? Cheeky bassoon or avuncular horn.

Perilous sources of heat? Cymbals! (Furtive footsteps? Xylophone) Music box? Glittery harp, piano, flute, piccolo. Motor-bike escapade? Tearing orchestra with xylophone saddled on top! The Celidh of the Father Christmases? Celtic pub dance tunes on flutes, piccolo, xylophone, muted trumpet.

And binding much together, the piano – setting new scenes, initiating rhythm and texture, creating mystery, punctuating or decorating percussively, bringing sentiment and affection, opening the mood and flow of I’m Walking In The Air for vocalist Victoria Ridgway – from Crawley, invited from the West Sussex Youth Choir.

The 17-year-old was singing it publicly for the first time and her nerves in the opening verse counted in her artistic favour. Initially frayed-edged in childlike wonder and fear (“What? My snowman’s really a bird?”), her voice gained in confidence (“He’s not going to drop me now – I’m flying too!”) arriving at a purity (“This is the best adventure I’ve EVER had”).

Incidentally, the washes of cymbals evoked for me the Cornish beach hut where Blake, years before, first thought of this tune. Blake’s is an unfamiliar face to most. His narration was thus like listening to a story a nice granddad at a small (under-control) children’s birthday party up the road. Throughout The Snowman, I sensed the audience’s adults captured by their own fascination and progressively moved. The final ovation’s vocal element was heartfelt.

Blake brought also his own Piano Concerto and soloist, the 21-year-old Paris-trained Briton, Julian Trevelyan. It’s rarely played, despite its distinctive, pleasing and constantly entertaining vigour and melodic content, easy form and good humour, since its commission for Princess Diana’s 30th birthday 29 years ago. Blake performed it for her at the Royal Festival Hall. Surely, her death is not the reason for its back seat in Blake’s output? “Yes, it is a portrait of her,” he replied. “There’s her warmth and sense of fun.”

After a shyly radiant opening musical vision, it garrulously flecks in syncopations and cross-rhythms of popular musical styles – though less prominently than in for example Ravel’s two-handed Concerto. Imagine a lively garden party, getting going. But in the jubilant, cosmopolitan finale of theme and variations they shine brightly and integral to the effervescence which, at the end, unexpectedly but poetically leaves us with a bookending repeat of that halting opening camera shot.

There are one or two royal sweeps of cinematic strings and French Horn grandeur, and the tenor trombone pair join in the contrapuntal fun.

The middle movement, far less loquacious, paints its own intimate photo or character album.

It began and ended with just piano plus the leaders of the three violin and viola section leaders, whom at rehearsal Blake persuaded Gibbons and the players themselves that they should stand to play. The effect in performance was of something original being done spontaneously as an apt focus on music speaking of loving homage and respect. A remarkable concert moment and result.

Trevelyan was bristlingly alive, alert and responsive to the Concerto’s solo demands and range, and evidently attuned with a composer whose birthday precedes his by a day. It was Trevelyan’s second performance of a piece composed for Russian prodigy Evgeny Kissin – who reportedly backed out of the premier, finding it too demanding to prepare in apparently ample time. It took Blake three months to prepare in Kissin’s place because Blake had abandoned concert piano performing.

But it took Trevelyan just a month before his December debut in it. “It’s challenging with its use of non-classical rhythms being put in a classical context,” he told me. “The trick is to let it sing, and to make an interpretation without destroying its simplicity.”

This climaxed and closed the concert, and won another enthusiastic reception. Trevelyan brought Blake on stage for a hug and then won over the audience without him in Chopin’s Mazurka No 2 in D major of Opus 33 as an encore.

What of the rest of the programme? Far from makeweights or fillers, they were Gibbons with reindeer bells setting a winter’s scene around a snowman. Rimsky’s bounding dance of the Russian street performers laid out cold any preference for a conventional overture. Delius’ Sleigh Ride and wander off on foot around snow-laden countryside may well have been a WSO first.

A Skater’s Waltz by a Strasbourg-born composer could not escape the notice of politically-aware Gibbons on Brexit Day. Out on Anderson’s stateside Sleigh Ride, the WSO were fully on the ball with its finger-snapping wit, and the Karelia Suite finale marched in out of the tundra chill with a genuine glow.

But seizing the biscuit was the one item which could have passed by unnoticed in a routine rendition – but instead launched the second half with hum-along anticipation. Gibbons and WSO gave us a Swan Lake Waltz with astute variation in dynamics and a sweeping conclusion of festive Russian theatricality lacking only Bolshoic vibrato in Tim Hawes’ important trumpet solo. Do take us the whole way to Moscow next time, Tim!

Richard Amey

In the morning, the fifth WSO Children’s Concert enthralled and invigorated an audience of nearly 800. Around 100 were from special education care, among the children from 13 schools, and more than 40 came from home-educating households.

Final two WSO concerts this season (Assembly Hall, 2.45pm) – Sunday 23 February: Mozart, Paris Symphony (No 31); Mendelssohn, Violin Concerto (new rising Swedish soloist, Johan Dalene); Grieg, Morning (from Peer Gynt); Holst, St Paul’s Suite; Prokofiev, Classical Symphony.

Sunday 5 April: Tchaikovsky, Pathetique Symphony (No 6); Grieg, In The Hall of the Mountain King; Harty, A Comedy Overture; Rachmaninov, Piano Concerto No 2 (soloist Dinara Klinton, Ukraine; 2015 Sussex International Piano Competition finalist and 2017 Interview Concerts subject).

REVIEW BY Richard Amey

Nik Rimsky-Korsakov, Dance of The Tumblers (from The Snow Maiden); Fred Delius, Sleigh Ride; Emil Waldteufel, Skaters Waltz; Howard Blake, The Snowman, concert version; Pete Tchaikovsky, Waltz (from Swan Lake); Leroy Anderson, Sleigh Ride; Johnny Sibelius, March (from Karelia Suite); Howard Blake, Piano Concerto Op412.

It was as though Sergei Prokofiev had been right there, narrating his own Peter And The Wolf with Worthing Symphony Orchestra. To audience surprise, Howard Blake was doing the same in The Snowman – a children’s composition of parallel universal success composed by he, an ex-Brighton & Hove Grammar School boy, and with some primary and secondary classmates in the audience.

Unbilled except last-minute on social media, Blake told me he was narrating a Snowman concert performance for the first time in five years. He was standing in for also-unpublicised actor Bernard Cribbins OBE, whose wife was unwell. Wombles voice-over Cribbins reached 91 in December. A month earlier, Blake OBE made it to 81, although he scarcely moves or looks older than 70. That’s the therapy of music for you.

Blake’s own ‘local lad makes good’ story happened 40 years ago when his idea of a TV cartoon outlawing dialogue struck gold. Instead, it’s musically with descriptive richness and synchronised with the precision of a Tchaikovsky-Petipa ballet, and delivering a hit song that seasonally sits alongside Irving Berlin’s White Christmas.

The familiar I’m Walking In The Air – the only words heard in the cartoon film – is sung by the Boy when the Snowman he has built suddenly lifts him up into flight, out over Brighton and up to the North Pole for a knees-up at a snowmen’s party visited by Father Christmas. A thaw-surviving scarf from that is living proof it happened for real, trumping at Christmas the Nutcracker Doll that can only underline a dream.

Now it was happening right here, without the images but with author Raymond Briggs’ dialogue pointed up by Blake’s music. A different and rewarding audience experience this way round. And a master class in light film music orchestration . . .

Sleep? Harp or strings. Fun building a snowman? Fairy harp and chirpy flute. Snowman greets his young creator? Cheery piccolo. Atmosphere around the boy’s house? Sober, nostalgic oboe. Terrified fleeing cat? Screeching strings. Snowman curious about human life? Cheeky bassoon or avuncular horn.

Perilous sources of heat? Cymbals! (Furtive footsteps? Xylophone) Music box? Glittery harp, piano, flute, piccolo. Motor-bike escapade? Tearing orchestra with xylophone saddled on top! The Celidh of the Father Christmases? Celtic pub dance tunes on flutes, piccolo, xylophone, muted trumpet.

And binding much together, the piano – setting new scenes, initiating rhythm and texture, creating mystery, punctuating or decorating percussively, bringing sentiment and affection, opening the mood and flow of I’m Walking In The Air for vocalist Victoria Ridgway – from Crawley, invited from the West Sussex Youth Choir.

The 17-year-old was singing it publicly for the first time and her nerves in the opening verse counted in her artistic favour. Initially frayed-edged in childlike wonder and fear (“What? My snowman’s really a bird?”), her voice gained in confidence (“He’s not going to drop me now – I’m flying too!”) arriving at a purity (“This is the best adventure I’ve EVER had”).

Incidentally, the washes of cymbals evoked for me the Cornish beach hut where Blake, years before, first thought of this tune. Blake’s is an unfamiliar face to most. His narration was thus like listening to a story a nice granddad at a small (under-control) children’s birthday party up the road. Throughout The Snowman, I sensed the audience’s adults captured by their own fascination and progressively moved. The final ovation’s vocal element was heartfelt.

Blake brought also his own Piano Concerto and soloist, the 21-year-old Paris-trained Briton, Julian Trevelyan. It’s rarely played, despite its distinctive, pleasing and constantly entertaining vigour and melodic content, easy form and good humour, since its commission for Princess Diana’s 30th birthday 29 years ago. Blake performed it for her at the Royal Festival Hall. Surely, her death is not the reason for its back seat in Blake’s output? “Yes, it is a portrait of her,” he replied. “There’s her warmth and sense of fun.”

After a shyly radiant opening musical vision, it garrulously flecks in syncopations and cross-rhythms of popular musical styles – though less prominently than in for example Ravel’s two-handed Concerto. Imagine a lively garden party, getting going. But in the jubilant, cosmopolitan finale of theme and variations they shine brightly and integral to the effervescence which, at the end, unexpectedly but poetically leaves us with a bookending repeat of that halting opening camera shot.

There are one or two royal sweeps of cinematic strings and French Horn grandeur, and the tenor trombone pair join in the contrapuntal fun.

The middle movement, far less loquacious, paints its own intimate photo or character album.

It began and ended with just piano plus the leaders of the three violin and viola section leaders, whom at rehearsal Blake persuaded Gibbons and the players themselves that they should stand to play. The effect in performance was of something original being done spontaneously as an apt focus on music speaking of loving homage and respect. A remarkable concert moment and result.

Trevelyan was bristlingly alive, alert and responsive to the Concerto’s solo demands and range, and evidently attuned with a composer whose birthday precedes his by a day. It was Trevelyan’s second performance of a piece composed for Russian prodigy Evgeny Kissin – who reportedly backed out of the premier, finding it too demanding to prepare in apparently ample time. It took Blake three months to prepare in Kissin’s place because Blake had abandoned concert piano performing.

But it took Trevelyan just a month before his December debut in it. “It’s challenging with its use of non-classical rhythms being put in a classical context,” he told me. “The trick is to let it sing, and to make an interpretation without destroying its simplicity.”

This climaxed and closed the concert, and won another enthusiastic reception. Trevelyan brought Blake on stage for a hug and then won over the audience without him in Chopin’s Mazurka No 2 in D major of Opus 33 as an encore.

What of the rest of the programme? Far from makeweights or fillers, they were Gibbons with reindeer bells setting a winter’s scene around a snowman. Rimsky’s bounding dance of the Russian street performers laid out cold any preference for a conventional overture. Delius’ Sleigh Ride and wander off on foot around snow-laden countryside may well have been a WSO first.

A Skater’s Waltz by a Strasbourg-born composer could not escape the notice of politically-aware Gibbons on Brexit Day. Out on Anderson’s stateside Sleigh Ride, the WSO were fully on the ball with its finger-snapping wit, and the Karelia Suite finale marched in out of the tundra chill with a genuine glow.

But seizing the biscuit was the one item which could have passed by unnoticed in a routine rendition – but instead launched the second half with hum-along anticipation. Gibbons and WSO gave us a Swan Lake Waltz with astute variation in dynamics and a sweeping conclusion of festive Russian theatricality lacking only Bolshoic vibrato in Tim Hawes’ important trumpet solo. Do take us the whole way to Moscow next time, Tim!

Richard Amey

 

'THE SNOWMAN SYMPHONY' - HARROGATE SYMPHONY ORCHESTRA, Harrogate Symphony Orchestra, musical director Bryan Western, tba Royal Concert Hall or International Conference Hall, Harrogate, Yorkshire

19th December 2021

The Snowman Symphony is scheduled to be performed by The Harrogate Symphony Orchestra,which Howard himself conducted in a performance of his 'Suite from Agatha' (22nd. June 2019.)

'The Snowman' began as an animated film with music in 1982, was enlarged into a 55' ballet in 1993 in which year it was also further extended into a 90' stage show. This was further revised and extended in 2000 in which form it continues to run in theatres in UK and around the world.

'THE PASSION OF MARY' FROM CATALUNYA, At 18.00 in Catalunya on Easter Sunday 12 April 2020 Ars Aurea Sonora Channel broadcast the film of the oratorio 'The Passion of Mary'. It was originally recorded in Manresa Cathedral on 8th December 2015 in a concert conducted by the composer with principal parts taken by Patricia Rozario (soprano), Richard Edgar Wilson (tenor) and David van Asch (Bass), with the choir and orchestra of Tarragona University. The Liverpool Quartet and Jaume Comas were also featured in a performance of 'The Snowman'. See coverage below., Manresa Basilica.

12th April 2020

PIANO TRIO SOCIETY IN CHETHAMS, International young artists will compete for a prize to be awarded by recently-appointed Vice-President of the society Howard Blake OBE FRAM along with Vice-President Christine Talbot Cooper. Senior Intercollegiate Piano Trio Competition. Sadly cancelled due to C-virus., Chetham's School of Music, Manchester 10.00am-6.00pm, 22nd. March 2020

22nd March 2020

The full title of the competition is the Senior Intercollegiate Piano Trio Competition.  www.pianotriosociety.org.uk  

 


 

PIANO QUARTET IN FLORIDA, The Velox Quartet: Nicholas Hatt (violin), Jacob Clewell (viola), Jordan Galvarino (cello), Sasha Bult-Ito (piano)., Emerald Coast Chamber Music Festival, Tyler Recital Hall, Niceville, Florida

30th May 2020

SONATA FOR TWO PIANOS IN MOSCOW, Rustem Kudoyalov and Oleg Polianskiy, Rachmaninov Hall of the Moscow Conservatoire

2nd February 2020
A concert of two piano music with at least one composition by Howard Blake in the second part of the concert that will consist of mostly British music.

SINFONIETTA FOR TEN BRASS IN CAMBRIDGE, Cambridge University Brass Ensemble conducted by Chris Lawrence, Wolfson College. 1.30pm

29th February 2020

PIANO CONCERTO AND THE SNOWMAN, JULIAN TREVELYAN, JOHN GIBBONS, Julian Trevelyan and the Worthing Symphony Orchestra play Howard Blake's Piano Concerto with prize-winning pianist Julian Trevelyan and 'The Snowman' narrated by the 'local personality' Howard Blake (who grew up in Brighton 1944-1963 and lived in Cuckfield mid-Sussex, 1971-1981)and wrote the original words and music, based on the children's picture-book by 'local' artist Raymond Briggs (who taught in Brighton and later lived in Ditchling), Assembly Hall, Worthing

31st January 2020

"The Snowman played by WSO in the presence of the composer himself – Howard Blake, along with the Piano Concerto he composed for the 30th birthday of Diana, Princess of Wales. The latter is played by exciting young pianist Julian Trevelyan making his Worthing debut. "

Tickets available here:

https://worthingtheatres.co.uk/show/wso-walking-in-the-air/


'CHRISTMAS LULLABY', ST. PAUL'S COVENT GARDEN - NADINE BENJAMIN AND DANAE ELENI, Nadine Benjamin soprano and Danae Elena Mezzo-soprano, St. Pauls Covent Garden 1.00-2.00pm

20th December 2019
A performance of the duet originally composed for the first Christmas of Classic FM

KATHERINE JENKINS AT THE ROYAL ALBERT HALL, Katherine Jenkins soprano, Howard Blake conductor, Royal Albert Hall

12th December 2019
Howard will conduct his own new arrangement of 'Walking in the Air' for soprano and orchestra in a programme of songs performed by Katherine Jenkins and orchestra.

'THE SNOWMAN' AT THE GREAT WARNER THEATRE HOLLYWOOD, The Golden State Pops Orchestra conducted by Steven Allen Fox, perform the concert version of 'The Snowman' with 'the voice of Disney', Bill Rogers, as narrator. 21st December 2019 at 8.00pm, Great Warner Theatre, San Pedro, Los Angeles, USA

21st December 2019

THE SNOWMAN STAGE SHOW AT LONDON'S PEACOCK THEATRE (22ND SEASON), Robert North full ballet company directed by Julian Moss, orchestra directed by Costas Fotopoulos, Sadler's Wells Peacock Theatre, Kingsway London

21st November 2019
- 30th January 2020

Overview

Birmingham Repertory Theatre’s production of The Snowman returns to the Peacock Theatre, the definitive marker of the Christmas season! Combining dance, live music and storytelling, this enchanting spectacle is one for the whole family. See it from 21 November 2019.

The beloved show is now in its 22nd year, testament to its enduring charm. Based on the children’s book by Raymond Briggs, it also includes songs and music from Channel 4’s 1982 film of the same name, including “Walking in the Air”. The story is wordless, told instead through movement. Special effects ensure the sense of magic and spectacle capture the imaginations of the little ones in the audience.

One Christmas – so the story goes – a young boy rushes excitedly outside at the sight of freshly fallen snow. He takes great pride in building a tall snowman, complete with hat and scarf. All of a sudden, a festive miracle occurs: the icy figure comes to life and takes the boy’s hand. Together they embark on a heart-soaring adventure.

The production is directed by Bill Alexander, who is Artistic Director of Birmingham Repertory Theatre. He counts a Binkie Beaumont Award for Best New Director and a Laurence Olivier Award for Best Director to his name.

The Snowman is produced by John Coates. Original music and lyrics are by Howard Blake. Choreography is courtesy of Robert North, with design by Ruari Murchison’s and lighting by Tim Mitchell.

Families can’t fail to leave this show in top festive spirits. Come and find how fly you can high with the gorgeous, heart-warming The Snowman at Peacock Theatre from 21 November 2019.

Recommended for

Anybody who knows Christmas isn't complete without hearing "Walking in the Air", or who grew up reading Raymond Briggs' precious book, should be sure to get The Snowman tickets. This festive treat is perfect for children and grown-ups alike.

Age Recommendations: Suitable for all ages

SNOWMAN ON CLASSIC FM - CHRISTMAS EVE WITH ALED JONES, Aled narrates and sings the words and music of Howard Blake OBE, who conducts The Sinfonia of London, CLASSIC FM 5.30PM

24th December 2019
This complete 26-minute version of 'The Snowman' was originally recorded for the Channel 4 animated film in 1983 with Howard conducting his orchestra The Sinfonia of London, narrator Bernard Cribbens and treble Peter Auty, and in this form it went platinum for CBS Masterworks. In 1985 Aled made a memorable cover version which went to number 3 in the charts and he appeared on TOTP singing 'Walking in the air' the theme ffrom the film, which launched his highly-succesful career.

THE SNOWMAN STAGE SHOW-ESPLANADE THEATRE SINGAPORE, Peacock theatre touring company

11th December 2019
- 15th December 2019

THE SNOWMAN STAGE SHOW - LYRIC THEATRE HONG-KONG, Peacock theatre touring company

28th November 2019
- 1st December 2019

'IN TUNE' BBC RADIO BROADCAST, An interview from BBC Broadcasting House, Portland Place, London, followed by the playing of the Sony recording of the third movement of the Piano Concerto, featuring the composer as soloist with the Philharmonia Orchestra conducted by Sir David Willcocks.

21st November 2019

THE PIANO CONCERTO: JULIAN TREVELYAN and JOHN GIBBONS - EALING SYMPHONY ORCHESTRA, Ealing Symphony Orchestra., St. Barnabas Church

30th November 2019
Julian will give his first performance of the Howard Blake Piano Concerto in a programme of symphonic music including Mahler's 10th

ALL-BLAKE CHAMBER MUSIC CONCERT AT THE CHAPEL ROYAL, BRIGHTON, Paul Gregory (solo acoustic guitar), Alan Parmenter (violin), Howard Blake (piano), Chapel Royal, North Street,Brighton Tuesday 3rd December 1.00pm

3rd December 2019

ALL-BLAKE ORCHESTRAL CONCERT WITH THE MID-SUSSEX SINFONIA, Jonathan Willcocks,conductor,The Mid-Sussex Sinfonia and Sussex Children's Choir, The Dolphin Hall, Haywards Heath

8th December 2019
This is a programme of music by Howard Blake, OBE.FRAM, who will be attending the concert to talk about 'All God's Creatures', 'The Snowman', 'Sussex Prelude' and other works he wrote at the time when he lived and worked in Highbridge Mill, Cuckfield, Sussex. 

HOWARD BLAKE INTERVIEWED BY AFSHIN RATTANSI FOR RT TV, Howard Blake talking and playing some of his piano music, filmed for TV in his Kensington Studio by friend and interviewer, Afshin Rattansi. For RT TV LONDON,10th Dec 2019, Kensington, London

10th December 2019
- 11th December 2019

Showings of film on RT on Dec 11th 2019 at 11.30am, 2.30pm and 9.30pm

Channel 234,

Freeview

SKY 511 

HOWARD BLAKE INTERVIEWED BY JACK PEPPER FOR SCALA RADIO, HOWARD BLAKE is interviewed by JACK PEPPER who introduces some of Howard's recorded music., Scala Radio, Golden Square, London

13th December 2019

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