Martin Yates, Conductor


"One of the most exciting and versatile British conductors of his generation..." - The Times

Martin Yates has built a career over two decades with a broad range of repertoire and genres. He has worked as a guest conductor with some of the UK’s most respected orchestras, including the London Symphony Orchestra, the Philharmonia, Royal Philharmonic Orchestra, City of Birmingham Symphony, Royal Liverpool Philharmonic, Royal Northern Sinfonia, Royal Scottish National Orchestra, BBC Concert Orchestra and the Hallé. He has worked extensively in Scandinavia with orchestras such as the Gothenburg Symphony, Malmo Symphony, Bergen Philharmonic, Royal Stockholm Philharmonic, Ostgota Blasarsymfonikerna, and the Swedish Chamber Orchestra, with whom he conducted the world premiere of Mark Anthony Turnage’s A Prayer Out of Stillness. Elsewhere he has conducted the Zurich Tonhalle, Jerusalem Symphony, Danish Radio Symphony, Royal Flanders Philharmonic, Iceland Symphony, China Philharmonic, Guangzhou Symphony, Melbourne Symphony, Malaysian Philharmonic, Tasmanian Symphony, New Zealand Symphony, and the Orchestra of Gran Canaria. In early 2009, Yates made his Carnegie Hall debut, conducting the New York Pops Orchestra in a programme celebrating the music of Charles Strouse, and in September 2010 he conducted the flagship Proms in the Park event at Hyde Park for the third time.

Ballet has become a significant part of Yates’ musical career and he has developed an important relationship with the Royal Ballet, Covent Garden, where he made his debut in February 2004, conducting Stravinsky’s Agon. Yates returns to Covent Garden each season where productions have included Manon, Don Quixote, Romeo and Juliet, Mayerling, Seven Deadly Sins and Swan Lake. He has also undertaken tours of the US, Asia and Europe with the company, and recently worked with the Bolshoi Ballet Orchestra in Moscow. Elsewhere, Yates works extensively with the Finnish National Ballet and Norwegian National Ballet where past and forthcoming productions include Manon, Romeo and Juliet, Carmen, La Sylphide, Onegin, and Don Quixote. Further afield, Yates has formed relationships with the National Ballet of Japan and Hong Kong Ballet where he has worked on productions of Nutcracker and Manon. This season, Yates makes his debut with the Paris Opera Ballet for a production of Manon and also returns to the National Ballet of Japan for performances of Cinderella.

Yates has recorded symphonic repertoire with orchestras such as the Royal Scottish National, Royal Northern Sinfonia, Gothenburg Symphony, Bournemouth Symphony, and Royal Flanders Philharmonic. He has an extremely successful relationship with the Dutton Epoch label; current releases include a series of recordings of the music of Richard Arnell, the long-anticipated Moeran’s Sketches for Symphony No. 2 (completed: Martin Yates), Elgar Sea Pictures with Roderick Williams, and Vaughan Williams’ Symphony No. 5. The most recent releases focus on the works of Charles-Marie Widor with two CDs featuring his Symphony No. 2 and Piano Concertos 1 and 2.

Having studied as a pianist, composer and conductor, Yates made his conducting debut with the Israel National Opera, where over a period of two seasons he conducted productions of Verdi’s La Traviata and Puccini’s La Boheme, Tosca and Madame Butterfly. He has conducted in the opera houses of Gothenburg, Stockholm and Rome and made his Edinburgh Festival debut conducting Bernstein’s On The Town. He is lauded as a first-rate accompanist and has enjoyed collaborations with soloists of international repute such as Jose Carreras, Barbara Hendricks, Bryn Terfel, Montserrat Caballe, Roberto Alagna, Angela Gheorghiu and Yo-Yo Ma. He is honoured to have conducted several Nobel Peace Prize concerts in Oslo.


Martin Yates has an extensive repertoire. For further information please contact Tina Linn Austad

Piano Concertos
International Record Review
Sat, 2014-11-01
New Chopin Piano Concerto No. 1 in E minor, Op. 11 (orch. Mily Balakirev)Mendelssohn Piano Concerto in E (realized/completed Yates). Heimkehr aus der Fremde, Op. 89— Overture. Victor Sangiorgio (piano); Royal Northern Sinfonia/Martin Yates. This release provides a fascinating choice of repertoire, with Chopin's First Piano Concerto in the rarely heard reorchestrated version by Balakirev, a realization by Martin Yates of Mendelssohn's unfinished Ii minor Concerto, as well as the Overture to the 20yearo1d Mendelssohn's opera Heimkehr aus der Fremde. As Roderick Swansiron's excellent notes make clear, very little exists of the Concerto in E, with virtually nothing remaining of the slow movement or the finale, and of the three modern versions of this work 'so much has had to he added that these must he considered joint efforts by Mendelssohn and the modern realisers; if not more realisation than Mendelssohn'. I've not heard those by Larry Todd or Marcelo Bufalini, but nonetheless it's a worthwhile endeavour, for the opening pages and the principal subjects are of supreme quality and tire work wifolds naturally from the very start, and it's difficultto discern where Yates's version takes over. The first movement is an absolute joy, brimming over with idiomatic and wholly stylistic peril piano writing, while tIne link into the Andante mirrors the same transition that Mendelssohn made its his Violin Concerto, which he started in the same year (1838). At the end of the day if one didn't know that so little exists of the original score, you could easily be convinced it was pure Mendelssohn: pastiche much of it may he, but it's extremely fine pastiche. Overall, though, these performances are extremely fine, with plenty of richness in the Mendelnsohn Overture, and his Concerto receives a fabulously ardent performance from Sangiorgio and the Northern Sinfonia alike. While I have some reservations about the Chopin, if the repertoire appeals, then this release is unlikely to disappoint. Nicholas Saiwey
Arnold Bax Symphony in F, Op. 8 - realized and orchestrated by Martin Yates
Wed, 2014-01-01
In the whole of his lengthy draft score, Bax apparently made only three indications of orchestration. In such circumstances, Yates's orchestral realization is something of a triumph. I found the first movement perhaps unduly brass-heavy, but really everywhere it sounds convincingly Baxian, even when the material itself is not yet characteristic. Foreman tells us that Yates has not only used Bax's early orchestral works for comparison but also the canonical First Symphony of 1922: and the result, dare I say it, may well be a better orchestration than Bax himself would have been capable of in 1907. Yates has clearly built up a fine rapport with the players of the Royal Scottish National Orchestra over the past few years of Dutton recordings and they respond to his direction with enthusiasm. Calum MacDonald
Arnell: The Unnumbered Symphonies. Overture '1940', Op. 6. Sinfonia
International Record Review
Tue, 2013-01-01
Arnell: The Unnumbered Symphonies. Overture '1940', Op. 6. Sinfonia (ed. Yates). Landscapes and Figures, Op. 78 a. Dagenham Symphony". Royal Scottish National Orchestra/Martin Yates with Catherine Edwards (piano). Despite extensive coverage in these pages and elsewhere, many collectors may be unfamiliar with the life and music of Richard Arnell. He died in 2009, with an extensive catalogue of music to his name, including many film scores. This disc, rather misleadingly titled, is the latest in a series of Arnell issues on the Dutton label. The members of the Royal Scottish National Orchestra play like heroes under Martin Yates's inspired direction. The recording is superb and the booklet carries a long and authoritative article by Lewis Foreman, to whom I am indebted for much new information. The earliest music on the disc is Sinfonia, completed in 1938, when Arnell was still a student at the Royal College of Music. The score has been edited by Yates, for whom Arnell's music has become something of a personal crusade, and this recording probably represents the work's first performance. The first movement opens with a powerful, slow introduction featuring baleful brass, leading to a faster main section. The influences cited by Foreman - Sibelius and Walton, especially the recently completed First Symphony - are spot-on, and although the music is both dramatic and effective, the listener is conscious of a composer working towards a voice of his own. This is especially true of the finale, less memorable than the rest and with more padding. The ending is highly effective, however, though it does seem to arrive pretty much from nowhere. The first of two slow movements is passionately felt, rising to a fine climax, and the second is a kind of pastoral interlude scored only for oboe and strings, beautifully played here by Alan Darbyshire. The work is slightly out of kilter, but remarkably assured for one so young and very satisfying to listen to more than 70 years later. Overture '1940', whose date of composition appears in its title, is a formidable piece of orchestral writing. There's a certain contrapuntal busyness about it that puts this listener in mind of Hindemith, though most of the time there is little doubt, and that despite the absence of anything resembling the pastoral school, that this is English music. The closing gesture is again very satisfying, but one is left with the impression that this could have been the first movement of a larger work. If Sinfonia is symphonic only in name, the Daqenham Symphony (1952) is not a symphony at all but a suite of pieces composed for a film. Opus 65 - strange title! - was a documentary about the Ford motor works at Dagenham. Foreman tells us that the music was composed first and the film shot around it. I wish he'd provided just a little more information about the titles of individual pieces. It would have been interesting to know what the visuals were for 'The Hook', for example, or for 'Monorail'. No matter, this is intensely approachable and enjoyable and so expertly scored that the music itself becomes almost visual, allowing listeners to imagine whatever they want as accompaniment. I think the finest music is found in 'Conflict', an exciting moto perpetuo, a superb example of virtuoso composition and brilliantly played here. Landscapes and Fiqures (1956) is a series of eight short pieces whose titles range from the reasonably specific -'The City', 'Self Portrait' - to the rather more abstract, such as 'Gargoyle' or 'Heirloom'. As with Daqenham Symphony, a piano provides linking passages, sometimes as short as a single chord, at other times more extended. They are played here by Catherine Edwards. 'The Plains' is cold and unpeopled, and the brass bring a mysterious and menacing quality to The Quarry'. 'Flower Piece', on the other hand, is all light and colour, with particularly inventive and liberating use of the woodwind section. 'Self Portrait' is just as vivid, if not as musically distinguished as Elgar's self-portrait in the 'Enigma' Variations. The musical language, though still approachable, is more advanced, slightly more demanding of the listener than the rest of the programme. It is well worth the effort. As one of those collectors cited above, coming new to the music of Arnell, I am conscious of those numbered symphonies, the Seventh completed by Yates from the composer's sketches. I'm eager to get to know them (earlier all-Arnell Dutton releases were reviewed in April 2003, May 2006, May and October 2007, October 2008, October 2009 and May 2011). Oh dear! What's that about Too many records? By: William Hedley
Godard: Piano Concerto No 2, Op 148". Fantaisie persane
Tue, 2013-01-01
Godard: Piano Concerto No 2, Op 148". Fantaisie persane, Op 152". Jocelyn - Two Suites. Ouverture des Guelphes Victor Sangiorgio Royal Scottish National Orchestra/Martin Yates The Second Concerto on Dutton's second Godard foray. As on the earlier Dutton disc of Godard's music (11/11), none of these world premiere recordings are of forgotten masterpieces but they consistendy show the hand of an assured craftsman, a fecund melodist full of arresting ideas albeit in a harmonically conservative idiom. The curtain-raiser is a case in point: the Overture to Godard's second opera, Les Guelfes, completed in 1882 but not premiered until 1902, seven years after the composer's early death. The funeral-march opening is contrasted with a spirited and gripping central section that vividly represents the composer's flair for dramatically contrasted passages in colourful orchestral garb. The RSNO's suave strings and brass respond magnificendy. Godard's four-movement Piano Concerto No 2, while perhaps not quite as alluring as No 1, shares with its predecessor grand Lisztian flourishes, sparkling Mendelssohnian figurations and a nod to Saint-Saens, including in the Scherzo a brief imitation of the galumphing waltz subject from his concerto in the same key. Victor Sangiorgio is at one with the idiom, able to charm and bamstorm with the best of them, sound engineer Dexter Newrnan capturing the full-bodied bass of the piano in a warm, spacious soundscape. The Fantaisie persane for piano and orchestra (1884) is another attractive rarity, a companion to Godard's other excursion into then fashionable orientalism, the Symphonie orientale heard on Vol 1. The two suites from Jocelyn include, of course, Godard's big hit, the Berceuse, played with understated eloquence by cellist Aleksei Kiseliov. Full marks to Martin Yates and Dutton for another delightful voyage of discovery. By: Jeremy Nicholas
Vaughan Williams: "Early and Late Works - World Premiere Recordings"
Tue, 2013-01-01
Vaughan Williams "Early and Late Works - World Premiere Recordings" Royal Scottish National Orchestra/Martin Yates Given the conspicuous success of John Wilson's world premiere recording of the imposing Heroic Elegy and Triumphal Epilogue (6/10), it was only natural that the folks at Dutton should turn their attention to further offerings from Vaughan Williams's formative years. Dating from 1898, the Serenade in A minor was the composer's very first orchestral work and initially cast in four movements, the third of which ('lntermezzo and Trio') was subsequently replaced by a 'Romance' of haunting poetry and no little emotional scope, its slumbering passion surfacing with a vengeance in a positively Puccinian climax (listen out for some unexpectedly verismo string-writing at 7'18").Julian Rushton's new edition deftly accommodates all five surviving movements and reveals a work of personable warmth, uncommon assurance and fresh-faced charm, a description that extends to the Bucolic Suite of 1900-01, where RVW's scoring undoubtedly acquires an extra guile and luminosity (those cannily blended brass sonorities from 1'40" in the finale are especially striking). First heard at the 2010 Proms, Dark Pastoral comprises David Matthews's treasurably idiomatic completion of RVW's sketches for the slow movement of a projected Cello Concerto (the recipient was to have been the great Pablo Casals). The Fifth Symphony dates from the same period (1942-43) so .it's not surprising there are echoes of that masterpiece (and its sublime 'Romanza' in particular). Guy Johnston makes an impeccable soloist. That merely leaves the colourful and breezy five-movement suite for orchestra that Roy Douglas compiled from Folk Songs of the Four Seasons, a large-scale choral work originally fashioned in 1949 for the National Federation of Women's Institutes. Yates presides over enthusiastic, spick-and-span performances. The sound is vivid, if a touch raw, and Lewis Foreman's notes are engaging. By: Andrew Achenbach
Moeran and Ireland, Royal Scottish National Orchestra
International Record Review
Mon, 2012-10-01
Moeran: Symphony No. 2 in E flat, Ouverture for a Festival Ireland: Sarnia Royal Scottish National Orchestra The strong impact E. J. Moerans Symphony in G minor made in 1938 was such as to create a demand for a successor, and it is known that until his sudden death in 1950 the composer was working on a Second Symphony. How far he got and what happened to the score as it was would seem to remain somewhat unknown factors. Yet from the extensive sketches which have survived Martin Yates has performed a similar function to that which Anthony Payne did for Elgars Third Symphony. The result is to reveal to us a previously unknown four-movement work of a little less than 35 minutes duration. This is not quite a similar task  one imagines to that which Deryck Cooke performed regarding Mahlers Tenth Symphony, for that work was completely laid out from first bar to last in all of its five movements, two of them virtually completely fully scored, the others having no gaps other than those of orchestration and stretches without harmony. To judge Moerans Second Symphony by the if result and with few published details of the work involved, the consequence of Yatess labours is that he appears to have been remarkably successful and almost wholly convincing. It can be strongly recommended, deserving of a place in the collection of any lover of twentieth-century British music, and particularly of those who are attracted to English music of the first half of the twentieth century. Where one might raise a query is in What one might term the development section of the first movement, which is a little too close ' to the G minor Symphony to convince that  this is a new work  although one knows that in Moerans complete Sinfonietta, for example, he was apt to rely on formulaic construction from time to time, which may indeed have been his intention in this Second Symphony. Overall, I found this an engrossing and fascinating listening experience, which I looked forward to very much and consider to have been quite brilliantly brought off by a musician who knows exactly what he is doing and why. I hope that this Second Symphony enjoys many performances, for in this format it deserves to, the score being clearly relished by the Royal Scottish National, which delivers a fully committed account. Moerans earlier Overture for a Festival, completed before the G minor Symphony, is in some ways a precursor of the first movement of the later work  rather too much so, perhaps  and if it deserved resuscitation in Rodney Newtons vivid orchestration solely for us to hear it now and again, one has to say that Moerans later working of almost identical material was more successful. Yates has also orchestrated John Irelands fine piano suite Sarnia, but here I tend to part company with his commitment. In orchestral guise, the result is effective enough, but it does come across as a somewhat unnecessary exercise, although it does result in the longest purely orchestral piece by the composer, who may at some point have considered orchestrating this music. However, it is so well known as a solo piano work  and so wonderfully laid out for the keyboard  as to make any orchestration, no matter how effective, seem second-best. Others may well feel differently, but for me the main attraction of this uncommonly interesting recording is to experience the essence of what would have been Moerans Second Symphony  heard at last, thanks to Yatess dedication and re-creative work and Duttons enterprise. The sound quality is first-class and there are informative booklet notes by Barry Marsh, Lewis Foreman and the conductor himself. By: Robert Matthew-Walker
A violin concerto with vision
BBC Music Magazine
Sat, 2012-09-01
Christopher Wright's Violin Concerto - written in memory of his violinist wife, Ruth; who had recently died - is a strikingly individual conception, incorporating a tenor voice in the last of its three movements; this is a setting of lines by Christina Rossetti: "Come to me in the silence of the night". Wright's idiom - both listener-friendly and superbly skilled, with never a wasted note - has no problems sustaining a 35-minute design. Violinist Fenella Humphreys responds to its elegiac reflecion and technical display at top-flight level, offering emotional depth and weight of tone. Wright's Momentum for orchestra, although written with the same professional finish, is a much less substantial statement. What makes this release even more appealing, however, is the quality of the performance of Vaughan Williams's Fifth Symphony. Peter Horton's new edition of the score corrects some (frankly fairly minor) errors that migrated from a copyist's manuscript to the published version. Much more striking is the evidence of what can happen when a musician of Martin Yates's quality gets to conduct a work of this order. The performance is as moving, and as beautifully paced and played - by the Bournemouth Symphony Orchestra - as any I have heard. The same impressive level is also reached by the Royal Scottish National Orcestra in Wright's two works. 6 Stars out of 6 Malcolm Hayes
Sun, 2012-07-01
Foulds: Cello Concerto, Op 17 Sainsbury: Cello Concerto, Op 27 Raphael Wallfisch vc Bournemouth Symphony Orchestra; Royal Scottish National Orchestra Martin Yates Dutton revives missed English cello concertos It is a particular pleasure to welcome Lionel Sainsbury's Cello Concerto, since many years ago by happenstance (its a long story) I was invited to afternoon tea by the composer in his Cotswold home when he was working on the score. I did not envisage from the composers illustrations at the piano a Work of such expressive range and intensity (try the central Adagio). It is quite thrilling to hear, after all this time, the fruits of his labour realised in such commanding style. The longest and structurally most complex movement is the nale, with its jiglike main subjectof infectious, rafsh good 'humour (Malcolm MacDonald in his excellent  booklet), which rounds off a composition that, by whatever magical means these things occur,is unmistakably English. Sainsburys Concerto is followed by a work completed exactly 90 years earlier, in 1909. John Fouldss Cello Concerto (the only surviving one of three he wrote between 1906 and 1910) was performed once in 1911 and then not heard until Raphael Wallsch revived it in the 1980s. Its three movements are linked by the same theme, and boast a number of unusual features such as the soloists pizzicato rst utterance and the composers invitation to the soloist to improvise his or her own cadenza in the nale. At the works heart is a beautiful quasi-Elgarian slow movement. Strange how some pieces as vivid and beguiling as this can slip through the net. One really could not ask from Messrs Wallsch and Yates and both orchestras for more persuasive world premieres of two concertos that already seem like old friends. Jeremy Nicholas
Bate and Reizenstein Piano Concertos
Fri, 2012-06-01
Both Sangiorgio and Martin Yates are full up to the demands made upon them and deliver smashing readings. All in all, this is a most worthy and highly enjoyable addition to the Dutton catalog...Meanwhile, no hesitation is required to acquire this disc. Paul A. Snook
WIDOR Piano Concertos
Tue, 2012-05-15
'Martin Yates gets a beautiful sound out of the orchestra. I know his work from superb recordings of Richard Arnell's Piano Concerto and Second Symphony, plus the Royal National Theatre's production of Rodgers and Hammerstein's Carousel'. Dave Saemann
Cello Concertos
International Record Review
Tue, 2012-05-01
"Martin Yates, too, has shown his willingness to explore these musical backwaters, and the two orchestras play marvellously well under his direction. The recordings, from two different venues, are very fine, and the documentation is well up to the usual Dutton standards, attractive to the eye and with a detailed booklet note by Malcolm MacDonald, itself a recommendation". William Hedley
Fine Performance
International Record Review
Tue, 2012-05-01
"This is an unexpected coupling, but treat it like a concert and it works very well". "The performance of Vaughan Williams's Fifth Symphony is very fine. The first movement seems quite measured, though timings reveal nothing exceptional. There is a certain coolness about the playing, more restrained than Andre Previn's, for example, in his pioneering RCA performance. The climax of the movement is superbly handled, however, and the coda is properly uneasy: there is more to this symphony than radiant tranquillity. I'm delighted that Martin Yates allows his string players time to breathe in the beautiful passage just before the final coda of the scherzo. If that final coda isn't quite 'clean', and if there are 'suspicions about some of the running quavers in the middle section of the first movement, these are unimportant blemishes. The Romanza is as passionate and richly euphonious as you are likely to hear, and the return of the symphony's opening music shortly before the end is most convincingly handled. Absent, perhaps, is the stamp of a strong individual personality, such as that of Bernard Haitink or Roger Norrington, to cite two performances I greatly admire. Other listeners will think that an advantage, and they might be right. To them, as well as to all Vaughan Williams collectors, I warmly recommend this beautifully recorded disc". William Hedley
BBC Music Magazine
Tue, 2012-04-24
Following his great G minor Symphony, Moeran wrestled for a decade with a Second, conceived apparently as four movements in-one along the lines of Sibelius Seventh. His faith in it fluctuated widely,and his sudden death in 1950 left only a confused, unfinished short—score draft, with many gaps. Martin Yates’s heroic realisation of a performing version cannot be, he says, ‘the one that Mioeran would ultimately have written’, but it’s an effective and sometimes thrilling presentation of the material. Some of that material, such as the Sibelian Scherzo and the Irish landscape—influenced Adagietto, is of high quality: though, oddly felt that the most cogent section was the Dionysiac finale, where Yates had the smallest amount of genuine Moeran to work with. Moeran’s 'Overture for a Festival' from the 1930s at least survives as a complete piano score and proves, in Rodney Newton's idiomaticorchestration, to contain prototypes of ideas Moeran used later in his Symphony and Serenade. This stimulating disc is completed by Yates’s rather technicolour but enjoyable orchestration of Ireland’s piano masterpiece Sarnia. Yates directs performances of brio and enthusiasm, and the Royal Scottish National Orchestra sound as if they’re revelling in every bar. The recorded sound is excellent, too. Calum MacDonald
Sun, 2012-04-01
The two piano piano concertos here by Stanley Bate and Reizenstein, steeped in mid-20th-century rhetoric, were premiered by the composers themselves in prominent performances. The Reizenstein is relentlessly energetic in the outer movements but, as the Hindemith pupil, he knew about continuity so the pace and the virtuosity never let up, except in a pleasantly cool if unmemorable slow movement. Bate's concerto is much less disciplined. His almost comic opening presages debts to Prokofiev; there's a meandering slow movement and a fizzing finale with stock-in-trade figurations. Victor Sangiorgio is a real virtuoso and thes performances under Martin Yates are truly outstanding. Peter Dickinson
Record of the Month
MusicWeb International Record Review
Thu, 2012-03-01
This is a sensational release both as to the works featured and the way they are performed. We have nothing to compare the two major items with but such is the radiance, colour and drive achieved it is odds against that these versions will be excelled any time soon. The Moeran symphony has been rescued by the conductor Martin Yates from the very fragments that I read about in Musical Times back in 1980?. I have long hoped that something could be done to bring these part-completed ideas to a sympathetic if inevitably speculative fruition. Martin Yates has done a truly magnificent job. He has the mature Moeran signature under his fingertips. However, it is not just a matter of imbibing the manner, Yates has also moved modestly out into the unknown region of how Moeran might have developed had alcohol and various brands of depression not taken hold. This single movement Symphony is laid out in four sections – each with its own track. Like the 1937 symphony – especially its third movement – this music is shot through with emerald and aquamarine light of the same hues glimpsed in the curl of the combers on a sunny day. It feels like authentic Moeran. Also by no means free of oceanic associations is Yates’ masterly orchestration of John Ireland’s major piano sequence: Sarnia. There’s precious little orchestral Ireland so it is good to have this. Le Catioroc is atmospheric, mesmeric and sultry. It sounds a little Gallic with its swirling harp music recalling Cras and the more exotic music of Roussel. It has a Debussian wash to it: yes, La Mer but also La catédrale engloutie. In a May Morning catches Warlock’s wandering tonality while the final Song of the Springtides is lighter of heart: swirling and diaphanous. Any rare Moeran is welcome but the weakest piece here is the rather ramshackle Overture for a Festival. It has its village green jollity but it still creaks. Parts of it are familiar either in detail or in character. The echoes are with later works such as the Serenade, the Overture to a Masque and the Sinfonietta. In any event it is good to make its acquaintance afresh after hearing broadcast tapes. The Moeran Symphony No. 2 will receive its public premiere at the English Music Festival on 1 June 2012. This is a very welcome disc from Dutton and its documentation simply adds to its compelling attraction. You dreamt of having some new Moeran and Ireland – here it is. I wonder how long it will be before someone issues a CD coupling the two symphonies. Rob Barnett
Five Stars
BBC Music Magazine
Fri, 2011-12-02
Martin Yates secures excellent performances of all three works. Martelli's Symphony gets a passionately fine response from every section of the RSNO.
Fri, 2011-11-04
The remainder of the evening continued the emotional roller-coaster, helped enormously by the music, which was superbly conducted by Martin Yates. It's a pleasure to hear excellent conducting after a disappointing musical performance of Sleeping Beauty recently, but then Martin Yates is a serious musician who has re-orchestrated the score of this ballet. It was originally conceived by Leighton Lucas using various pieces from Massenet's operas - though nothing from Manon itself - and Yates brought out the power of the music very strongly. With Martin Yates' conducting these are performances not to be missed.
Altogether Delightful
Tue, 2011-11-01
Godard's four-movement Piano Concerto No.1 (1875) is a case in poihnt, with an agreeably virtuoso solo part, strong themes and some beefy orchestral writting. Soloist Victor Sangiorgio , you feel, has had these works in his fingers for some time, while the infectious vitality that Martin Yates brings to proceedihngs adds to the impression of everyone having a thoroughly enjoyable time. 'An altogehter delightful disc of world-premiere recordings. Jeremy Nicholas
Natural Confidence
South African Sunday Times
Wed, 2011-08-10
English conductor Martin Yates has a natural musical confidence that allows the musicians to play to their best and the results are that the music has the sound of glowing gold. His tempi in the Schumann First Symphony were fresh and daring and this work, which can so often sound pedestrian, was alive and alert whilst always on the perfect side of good taste.
Symphony 4 Stanley Bate & Symphony 7 (Mandela) Richard Arnell
The Independent
Tue, 2011-02-01
That I should have such strong reactions to these two works is testimony to the vividness and commitment of Yates’s interpretations with the RSNO, who were playing at the top of their form. Yates has a strong sense of the architecture of both symphonies and of their complex cross currents. Calum MacDonald
British Orchestral Tone Poems
The Independent
Sat, 2011-01-22
...these are rare works but of some distinction, deserving of performance and that’s largely due to to the really excellent interpretations directed by Martin Yates, who gave a clear sense of the shape of each and inspired first-rate playing from the Royal Scottish National Orchestra.
Elgar: Sea Pictures
Soloist: Roderick Williams BBC Concert Orchestra
Arnell and Bate
Richard Arnell: Symphony no. 7 Stanley Bate: Symphony no. 4 Royal Scottish National Orchestra
Richard Arnell: Symphony no. 3
Royal Scottish National Orchestra
Richard Arnell - Punch and the Child, Harlequin in April, Concerto Capriccioso
BBC Concert Orchestra and Lorraine McAslan
Richard Arnell: Piano Concerto Op. 44 and Symphony no. 2
Soloist: David Owen Norris Royal Scottish National Orchestra
Rutland Boughton & Edgar Bainton: Orchestral Tone Poems
Bainton, E: Paracelsus, Op. 8 Pompilia, Op. 11 Prometheus, Op. 19 Boughton: Love and Spring, Op. 23 Troilus & Cressida (Thou & I), Op. 17 A Summer Night, Op. 5 Royal Scottish National Orchestra
S. Bate Symphony No 3; E. Chisholm Pictures from Dante; Arnell Robert Flaherty
Royal Scottish National Orchestra
English Music for Strings
Arnold Bax, Richard Arnell, Stephen Dodgson, Norman Del Mar BBC Concert Orchestra Royal Liverpool Philharmonic
Bowen, Bush and Brian Cello Concertos
Soloist: Raphael Wallfisch BBC Concert Orchestra
Chisholm; Fogg; Hold - Vocal & Orchestral Works
BBC Concert Orchestra
Creith/Arnell/Pitfield Violin Concertos
Soloist: Lorraine McAslan Royal Scottish National Orchestra
Arnell: Lord Byron.; Dunhill - Symphony in A minor
Royal Scottish National Orchestra
John Ireland - Orchestral Songs and Miniatures / Elgar orchestral songs
BBC Concert Orchestra
B. Godard
Benjamin Godard: Piano Concerto No. 1, Introduction and Allegro, Symphonie Orientale Royal Scottish National Orchestra/Martin Yates
Moeran: Symphony No. 2
E J Moeran - Sketches for Symphony No.2 completed by Martin Yates & Overture for a Festival / John Ireland - Sarnia: an island sequence for orchestra Royal Scottish National Orchestra/Martin Yates
Joubert, Alwyn and Martelli
Joubert: Symphony No.2; Alwyn: Prelude and Derrybeg Fair from The Fairy Fiddler; Martelli: Symphony, Op. 4 by Royal Scottish National Orchestra, Martin Yates and John Joubert
Bate and Reizenstein Piano Concertos
Bate: Piano Concerto No. 2 in C major, Op. 28 Sinfonietta No. 1, Op. 22 Reizenstein: Piano Concerto No. 2 in F Victor Sangiorgio (piano) Royal National Scottish Orchestra/Martin Yates
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