Toad Lane Concerts, Rochdale
15th January 2026

Midweek Musical Delight at St Mary in the Baum!

Every Wednesday at 12:30pm, enjoy the Queen’s Award-winning Toad Lane Concerts at the stunning Grade I listed St Mary in the Baum church, Toad Lane, Rochdale, OL16 1DZ.

Admission is just £6. As a “not for profit” initiative, your entry fee and donations directly support talented musicians, the historic venue, and music resources.

For details, contact Dr. Joe Dawson: 01706 648872.

Note: There have been 1,169 concerts since taking over the council’s Music at Lunchtime in 2001. Justifying continuity in Rochdale’s year as the Greater Manchester Town of Culture.

Doors open 12noon, concert starts 12.30pm – 1.30pm.

Wednesday 21st January 2026 – Jonathan Ellis (Manchester University and RNCM)

Here are the next events to whet your appetite.

- Jan 28 – Roth Guitar Duo: Emma Smith (Edinburgh University & RNCM) & Sam Rodwell (RNCM)
- Feb 04 – Imogen Garner mezzo soprano (RNCM) with John Gough piano (RNCM former Head of Accompaniment)
- Feb 11 – Rascallity Harp Duo: Alice Roberts & Kathryn Mason (both Manchester University & RNCM)
- Feb 18 – Adrian Lord piano and composer (RNCM)
- Feb 25 – Margaret Ferguson soprano (Ghana, Poland & RNCM) with Mackenzie Paget piano (RNCM)

Previous Performance Reviews.

Wednesday 14th January 2026 -Tim Kennedy piano (Cambridge University & RNCM Staff)

Tim Kennedy studied music at Gonville and Caius College, Cambridge, but he has now been based in Manchester as a freelance professional musician for more than fifteen years. As well as being a piano accompanist, he also works as a professional singer, vocal coach and organist. He is a staff pianist for the RNCM, an official accompanist for the British and International Federation of Festivals and Regional Championship events, accompanist at various schools including the CSSM Summer School, and regular rehearsal pianist; see www.tim-kennedy.co.uk.

Today it was Tim Kennedy concert pianist, which he carried off with aplomb. With authoritative and engaging introductions Tim drew wonderful tone from the heritage grand piano in St Mary’s acoustic, in a range of styles.

We began with the three ‘B’s, Bach, Beethoven and Brahms. He reproduced all the grandeur of JS Bach’s majestic Organ Sonata No. 4 Adagio in Stradal’s adaptation. This was followed by two of the most famous and popular piano works of all time, Ludwig van Beethoven’s Moonlight Sonata (not Ludwig’s nickname) and Für Elise (dedicated to Elise – much conjecture but identity unknown). It was interesting to note how the nineteenth century Romantic piano style matured through to the full-bodied Intermezzo in A, op 118, No.2 by Johannes Brahms.

Then came an attractive set of Contemporary miniatures with Large Wave by Pamela Wedgwood, Sunsets in Savannah by Randall Hartsell, Sunset by Frederick Magle from which Tim extracted every gram of expression.

The final set celebrated ragtime with Graceful Ghost Rag by William Bolcom; followed by George Gershwin’s song transcription of his own The Man I Love and the Concert Paraphrase on Gershwin’s “Soon” by Maurice C Whitney. This was all particularly well suited to the resident 8 -foot Challen Grand piano of 1935 and which enthralled and delighted the audience.

With thanks to Dr. Joe Dawson for permission to publish his article.

Wednesday 7th January 2026 – More than Melody Ladies Choir

Singing in the new year with ‘More Than Melody’ Ladies Choir.

This joyful Toad Lane Concert at St Mary in the Baum was the 1,168^th since taking over from the council in 2001. It featured popular visitors, the talented ladies’ choir ‘More than Melody’, which was formed in 2008 by Alyson Brailsford ‘to have fun and fellowship and provide a programme of musical entertainment’. (Contact: 07773710325 or alyson.brailsford@gmail.com).

They welcomed in 2026 with optimism, starting as we should all mean to go on – with more than melody!

Avuncular conductor, Jonathan Gibson graduated from the RNCM as a horn player and now freelances. He has brought the ensemble to a high level of choral part singing.

Their seasonal mix of vocal styles began with reminders of Christmas, including The little road to Bethlehem by Michael Head, charmingly sung by Pat Stephenson; a spirited All in the morning with its rhythmic arrangement by Coombes; and the popular standard It’s the most wonderful time of the year.

Alyson Brailsford introduced Gracie Fields’ music hall style with I took my harp to a party that contrasted with a sweet choral arrangement of Reger’s Virgin’s Slumber song. We even had a taste of New Year in Vienna with Carnival Nights, by Johann Strauss.

Mary did you know by Buddy Greene was movingly sung in Jennifer Walkman’s rich contralto, followed by In the bleak midwinter led by soaring soprano soloist Lynn Lee. Then, following a lively rendition of Jingle Bells, giving the ladies a well-deserved breather, piano accompanist Brian Milligan turned solo singer for an engaging Caro mio ben. Back to the Viennese theme, we had an entrancing Waldteufel’s Skaters’ Waltz and a sprightly Polka by Strauss.

A reflective solo opening by Lynn Lee with choral response of Let there be peace on earth, brought things to a calm conclusion … until a spontaneous encore with Happy Birthday. This was for the youngest member of the audience, a choir member’s one year old granddaughter, and it struck just the right note! A future performer or audient? Certainly, a Happy New Year where the glass looks half full.

With thanks to Dr. Joe Dawson for permission to publish his article.

Wednesday 10th December 2025 –Voci Voices.

Voci Voices pictured from left: Jonathan Ellis piano, Elizabeth Ambrose soprano, Margaret Ferguson mezzo, Eric Cymbir tenor and Mackenzie Paget baritone)

This Toad Lane concert at St Mary in the Baum was the 1,166^th since taking over from the council in 2001. The prize-winning troupe, Voci Voices made a welcome return with a feast of singing for Christmas. They always bring an international flavour too, with the performers’ roots in Poland, Ghana, Ukraine, Scotland, and Wales, accompanied by English pianist Jonathan Ellis, who managed to reproduce a full orchestra or provide sensitive support, as required.

The memorable line ‘It’s beginning to look a lot like Christmas’ stood out from the seasonal medleys from The Most Wonderful Time of the Year, Christmas on Broadway, and I’ll Be Home for Christmas, and became truer as the concert went on.

The international theme brought the universality of Christmas celebrations home through traditional carols. From the cheery Austrian Snow – Waltz Schneewaltzer to the atmospheric

Africa Ukuthula, African Prayer for Peace led by Margaret with a sensitive backing group followed by an up-tempo Afrika Kyrie.

We had lovely Nebo i Źemlia from Ukraine and Lulajze, Jezuniu (Lullaby) from Poland, the Italian Gesù Bambino, more Austrian with Silent Night, and French O Holy Night by Adams to the Welsh traditional Deck the Halls.

Completing this worldwide songfest was a particular favourite with Americans, the Handelian Hallelujah! Joy to the World by Handel & Mason brilliantly arranged by Emily Lund in a delightful mix of the two iconic choruses.

An encore was demanded and granted with ‘I wish you Christmas’ by John Rutter, rounding off a celebration of well-executed seasonal vocal gems, admirably suited to the acoustics. A great start to the season. It certainly made it ‘seem a lot like Christmas.’

With thanks to Dr. Joe Dawson for permission to publish his article.

Wednesday 3rd December 2025 -Telemann Baroque Ensemble – flute & strings.

Picture 1: the last appearance of the Telemann Baroque Ensemble in October before the harpsichordist and director, Peter Collier, sadly passed away. With the blessing of his widow, Pam, they decided to fulfil this engagement and make it a celebration of their valued colleague and friend.

Peter was a graduate of the Guildhall School of Music and London University and the director of the Baroque Week Summer School, for over 40 years (www.baroque-week.org.uk) for which he built up a library of several thousand music scores. In the TBE’s quarterly appearances at St Mary the Baum, Peter led from the continuo (harpsichord) and introduce the items with carefully researched anecdotes and information, all to highlight the composers and engage the audience. His greatest pleasure was having GCSE students from Heywood College in the audience on a few occasions, who delighted in examining and playing the instrument, which is one of a number he had made himself.

In the past few years, the TBE had played quarterly at St Mary in the Baum, such that they could be referred to as the ‘house band’ – (this playful humour would not have been lost on Peter). This could have been their last stand – but they hope to continue the legacy next June.

Picture 2: The surviving ensemble (pictured clockwise from Alastair Roberts, flute; Sarah Snape and Elaine da Costa, violins; John Goodstadt, viola; Roger Bisby, ‘cello) made a fitting tribute.

Flautist Alastair Roberts introduced and led flute quartets by Haydn and Mozart superbly as well as speaking affectionately of his friend and colleague. Cellist Prof Roger Bisby introduced the strings in two works by Telemann, which had been recommended by Peter in the event of his passing. Chamber music such as this requires excellent individual skill as well as expert ensemble playing. It was doubly sad that the harpsichord part was absent, yet the strong lines of the instrumental writing, the beauty of tone and the capable playing meant that the audience was not disappointed. Surely, the late maestro would have approved.

With thanks to Dr. Joe Dawson for permission to publish his article.