Grimsby Concert Society

12/04/2026

Margaret Fingerhut MBE – Piano 9th April 2026

There was universal agreement that Margaret Fingerhut's concert in the Assembly Room of Grimsby Town Hall was indeed wonderful. Emanating charm in her introductions, Margaret engaged with the audience personally before captivating them with her seemingly effortless musicality and dynamism, bonding and giving fresh life to the Steinway at her fingertips. Indeed a number of audience members asked if this was a different piano from that used for previous concerts. Equally appreciated was Margaret’s programme, inspired by her own Polish-Ukrainian descendancy; the first half was exclusively Frederic Chopin, whilst the second half introduced the audience to the unfamiliar yet equally accessible music of Ukrainian born composers.

Margaret began with Three Mazurkas and Barcarolle; her gentle yet understated opening was the portal to the marvellous concert to come. In these first delightful pieces one was carried away with the pure pleasure of her musicality, her interpretation, dynamic phrasing and wonderful rubato. Barcarolle provided an enjoyable contrast to the Mazurkas - Margaret conveying a distinct sense of jollity in the closing section. In the first of Two Waltzes, Margaret maintained a well-defined melodic line over the accompaniment, whilst subtly employing rubato. Then came the gloriously performed Minute Waltz. The visionary and anguished Ballad Number 4 in F minor closed the first half, the emotions ranging from reflective and melancholic to sheer gusto. After a calm introduction Margaret showed the perfect creation and use of space in the music preceding the first change of mood. Reflecting upon this first half, one is reminded that it is through the ability and musicality of Margaret, and of like musicians, that we are able to appreciate the music of Chopin.

In the second half Margaret shone a light on the music of four Ukrainian born composers, opening with Les Rochers d’Outche-Coche by Sergie Bortkiewicz. This dramatic and magnificent piece was inspired by the mountainous rocks of the Uch-Kosh gorge. In a majestic performance, Margaret lived and shared the emotions of the music: rich and full-bodied, a roller-coaster of fabulous crescendos and decrescendos and at other points sustained fortes. It was possible to imagine soaring over and round the crags before returning gently to the ground as the music ended, to enjoy the pleasant dream-like quality of Viktor Kosenko’s impressive romantic Nocturne-Fantasie. Margaret gave an intimate and understated performance of Valentin Silvestrov’s Three Bagatelles, described by him as an echo of what has already been written. This soothing music offered nostalgia, gentle reflection and healing – a sublime moment in the concert! Mykola Lysenko’s Dumka-Shunka Rhapsody provided an enjoyable contrast; originating from the folk music of Ukraine this fun piece juxtaposed exuberance with melancholy and irony, before concluding with a barn-storming finale. In a final moment of sublimity Margaret encored with Bortkiewicz’s Consolation – a beautiful reflective piece. [Margaret Fingerhut has recorded a delightful album of music by Ukrainian composers “Ukraine - A Piano Portrait”, SOMM; sales proceeds go to British Ukrainian Aid.] IM

25/03/2026

19/03/2026

Keziah Thomas – Harp 12th March, 2026

In a totally engaging concert, Keziah Thomas brilliantly performed her original and complete arrangement for orchestral harp of Vivaldi’s Four Seasons. Immediately one was struck by the lovely clarity of her rhythmic playing, by the dynamics and by Keziah’s oozing musicality. That she was at one with the harp and playing from the heart was patent. Her plucking was at times hypnotic and at times illusory – so fast that more notes were heard than one could visually perceive the plucking of. “The Four Seasons”, which included a few surprises, formed the first half of her concert; for those that missed it and for those like me who want to hear it again, she has recorded it on a CD of the same title on the Convivium Records label.

Keziah was the perfect musician and entertainer, her warm introductions to pieces both set the scene and provided new insights for the audience, adding to the understanding and appreciation of the music.

Having filled the acoustic of Grimsby Town Hall with the sounds of spring, summer, autumn and winter, Keziah provided a programme of equally interesting and delightful music in the second-half, opening with the impressionist Sonatine by Ravel. This was another unique solo arrangement by her requiring much and at times frenetic pedal work – the product of her amazing playing was magic and delight. The only work not arranged by Keziah was Caroline Lizotte’s La Madone (2009) which used the entire range of the harp in a peaceful lullaby.

Keziah then performed her entrancing arrangement of themes from Scheherazade, Rimsky-Korsakov. In another marvellous interweaving of her magic hands, she played Vaughan Williams Fantasia on Greensleeves (& Lovely Joan). Somewhere from Bernstein’s West Side Story came from the heart in a moving and deeply pleasurable interpretation. For an encore, Keziah performed a theme from Swan Lake – a quintessential harp delight with which to end a wonderful concert. IM

02/03/2026

We are pleased to present our next concert (see below).

Further information for the current season can be found at grimsbyconcertsociety.org.

26/02/2026

We are pleased to present our next concert (see below)

Further information for the remaining 2 concerts of this season can be found at grimsbyconcertsociety.org.

16/02/2026

The Luna Piano Duo 12th February 2026

The Overture to Mozart’s Die Zauberflöte announced this was to be an evening of piano magic emanating from the fingertips of Amy Butler and Graziana Presicce, as side-by-side they cast a spell over their audience. This one piece encapsulated and showcased their individual and combined qualities: delicate, dynamic, powerful, synergistic and sharing with perfectly synchronised control in this musically pleasing opening. Debussy’s dream-like Prélude à l'après-midi d'un faune continued the enchantment weaved by Graziana and Amy, and established the pattern of contrast from one piece to the next that reflected a well thought out programme guaranteed to pique and maintain audience interest. This pattern continued with three romantic pieces by Chaminade: the first lively; the second easy flowing with dramatic interjections and then the appearance of a rustic melody; in the third piece Graziana’s delicate rippling trebles enhanced Amy’s melodic projection. By telling the story of the piece, Amy appropriately set the scene for a marvellous and dramatic and demanding performance of Mussorgsky’s Night on the Bare Mountain. Both pianists had superb control of the dynamics of their part as they collaboratively shared the keyboard in a spectacular end to the first half of their concert.

Vaughan Williams Fantasia on Greensleeves was simply delightful, as Amy and Graziana seamlessly exchanged the lead as the music moved through the sections. Two Spanish Dances from La Vida Breve by de Falla, were brilliantly played with energy, passion and finesse as Amy and Graziana surmounted the potential for physical entanglement presented by these challenging pieces. The soulful and expressive Fado Burnay, by Burnay, showed how the duo could switch moment by moment from the delicate to the decisive, always dynamic and always delightful. In another show of stamina, the concert ended with a tour-de-force performance of Gershwin’s Rhapsody in Blue – played with a freedom that comes firstly through individual discipline, love and mastery of the art, and secondly through the harmony of mutual trust and respect that Graziana and Amy clearly enjoy. Encore: In the wonderful acoustics of Grimsby Town Hall, and to the pleasure of their audience, The Luna Piano Duo cast a final enchantment with a beautiful relaxed performance of Debussy’s En Bateau. IM

15/01/2026

Thursday 8th January 2026 - Grimsby Town Hall

Reflections on our first concert of 2026 when we thoroughly enjoyed “A Lyrical Journey Through Time” - a concert put together especially for the Society by Grimsby born James Gillett; now a pianist, conductor and vocal coach based in Manchester. Including himself James brought four remarkable artists together to perform a selection of operatic favourites, from Purcell to Wagner and favourite moments from Gilbert and Sullivan and the Golden Age of Musicals Including Gershwin, Cole Porter, and more. The first half of the concert featured popular classical pieces up to and including the 19th Century. The second half featured songs drawn from shows and musicals of the late 19th Century and of the 20th Century.

The wonderful mezzo-soprano Victoria Simmonds opened the concert with strong clear vocals, well enunciated, delightful controlled melodic scales, with superb dynamic control. Henry Waddington’s bass-baritone counter-balanced Victoria’s tone; Henry projected powerfully, and was emotionally expressive with great sustain at the end of phrases. The final member of the troupe was lyrical-soprano Kelsey Thomas who sang with a wonderful natural vibrato; she sang convincingly in French and then in Russian – Russian has never sounded so good!

All the singers revealed a good sense of humour in their introductions, as well as revealing marvellous acting ability through their performances. Individually all of the singers were superb, but the effect of their combined voices was positively synergistic. It was hard to believe that Victoria and Kelsey had never sang together on stage before this day – they harmonised so beautifully. Victoria and Henry sang a duet showing great understanding of the song in their interactions with each other. The three provided an emotional rendition of a trio from Cosi Fan Tutte; this was later humorously contrasted with Gilbert & Sullivan’s “Three little Maids” – possibly an original interpretation of this song.

With these three singers one felt that the best of opera had arrived in Grimsby, all perfectly accompanied by James on piano as he played with perfect balance and understanding. This was wonderful concert that will long be warmly remembered by all those you attended. IM

06/01/2026

Tickets are still available for our first concert of the New Year - Thursday 8th January 7:30 p.m. at Grimsby Town Hall. We very much look forward to welcoming James Gillett and Friends for a special concert - A Lyrical Journey Through Time. Originally from Grimsby, James is a pianist and conductor based in Manchester where he is also a freelance vocal coach and accompanist, regularly working at the RNCM. We look forward to seeing you there!

01/12/2025

Rob Johns {Guitars} 27th November 2025

Reflecting the aims and spirit of the Concert Society, Rob Johns provided an entertaining and informative recital in the wonderful setting of the Assembly Room of Grimsby Town Hall, but this was not your usual classical guitar concert. The concert was very much a sincere presentation of Rob Johns the musician, drawing on many genres including English Folk, Blues, Flamenco, Classical as well as his own music performed with the use of three guitars: classical, acoustic and Flamenco.

Rob opened with three pieces by Leo Brouwer. With a rich, beautiful tone and a crafted performance, Rob performed the atmospheric Danza del Antiplano to lift his audience to the high altitude plains of the South American Andes. This was contrasted by the rhythmic Elogio de la Danza whose abstract opening gave way to an insistent pulse drawing the listener in. This section was concluded by the lively Danza Characteristica. In a section exploring English folk, Rob began with the ballad Arise, Arise, sung without accompaniment and revealing his pleasant, natural, clear vocals. A melodic introduction to Bushes and Briars led to a clear and sweet tune with a pleasant bass variation – a captivating and thoughtful rendition. To the distinctive sound of his acoustic guitar, Rob gave a lovely rendition of the enigmatic She Moved Through the Fair that had the audience holding its breath through to the end. A foot-tapping rendition of Anji completed the folk section. Returning to the Classical Guitar, Rob completed the first half with his own piece Chambers, a “characteristic piece” that he thoughtfully explained. This is a continually evolving piece with a melody developing from an enigmatic opening, to become increasingly rhythmic as the momentum increases until it becomes a hypnotic dance marked by melodic chordal interchanges that in turn gave way to an exciting percussive section utilizing all surfaces of the guitar.

Part II opened with the classical guitar and music from Brazil, beginning with the lyrical Prelude 1, Villa–Lobos, Rob plucked lush bass notes and rich top notes in an inspiring interpretation. He followed this with the delightful Sons de Carilhoes, Pernambuco, to complete this section with Morel’s Danza Braziliera – which provided a nice contrast. Switching to the acoustic guitar for two American Blues numbers, both sung with great feeling by Rob and to which his voice and attitude was well suited. First another foot-tapper Going Down Slow, Oden; then Come Back Baby, Davis, complete with train-whistle sounds produced from the treble strings. Turning to his Flamenco guitar, Rob performed a Danza Mora with an exotic and beautifully teasing opening from which the piece gradually emerged and developed – enhanced by changes of pitch, tone and dynamics. The concert closed with Soleares & Rumba paired together to provide emotion and drama. In response to audience requests for an encore, Rob brilliantly performed Hey Hey, Big Bill Broonzy, ensuring all left with a smile. IM