Toad Lane Concerts, Rochdale
21st May 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 1,186 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 27th May 2026 – iot Gresty clarinets (Chetham’s & RCM) Elliot is the winner of The Musicians’ Company Prince’s Prize 2019 – Kanako Mizuno piano (Toho Gakuen Japan, RNCM, RAM)

Here are the next events to whet your appetite.

- June 03 – Richard Haslam classical guitar (Hull University & RNCM)

Previous Performance Reviews.

Wednesday 20th May 2026 -Eccles Community Choir – Director Angela Rowley (soprano and adjudicator) – Piano John Stott

‘Singing for pleasure and friendship’ is their motto

There has been much in the press lately on the beneficial effects of singing in a choir. Also, it has been suggested that artistic involvement like concert going can help to slow the ageing process. Fortunately, several such opportunities appear in the weekly concert series, enabling these therapeutic benefits as well as simply having a good sing! Annual visitors Eccles Community Choir is mixed voice and also mixed ability, established in 2009 as an independent, true community choir – open to all adults (without auditions) and striving to keep subscriptions as low as possible to enable anyone to join. They also keep in close contact, via a website, a Facebook page & group email and WhatsApp; plus, a ring-round system for those not online. Every effort is made to build a cohesive musical community.

Musical director, soprano and adjudicator Angela Rowley ARCM does not tolerate ‘dumbing down’ however. As one member put it, ‘Every practice session is also a two-hour singing lesson.’ She does not shy away from sophistication or working towards perfection and her charges seem to thrive on it.

Their packed and varied ‘potpourri’ began with Sound the Trumpet by Henry Purcell. Originally a duet for two counertenors, this adatation was delivered with conviction and the part singing was splendid.

The Blue Danube by Johann Strauss arranged by A Gilchrist, and Barcarole by Offenbach flowed smoothly and effectively, establishing a distinctive ‘Eccles’ style and tone. This was necessary in the complex ‘mix’ of the Frankie Laine hit number, I believe, with the Classical Ave Maria – tricky to pull off, but it worked.

A simple We’ll gather lilacs led to a charming solo, Dancing Cheek to Cheek by baritone Alex, and then an hilarious James Bond Medley arranged by A Biilingsley; Dream a little Dream of me (remember the The Mamas & the Papas? and Everything’s coming up Roses by Sondheim led to a break. But respite for the choir meant no rest for the director. Angela leads by example and gave a beautifully poised, musical solo performance of Mozart’s aria Deh vieni, non tardar, accompanied superbly as through the whole programme, by John Stott.

Standards All the Things you are by Jerome Kern, I’ve never been in love before by Frank Loesser, and You needed me by Randy Goodrum were well received, but the outstanding winner was their Abba Medley – all the closet Abba aficianados (male and female) in the audiences were foot-tapping and joining in under their breath… ‘Thank you for the music …’

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

Wednesday 13th May 2026 – Students from Chetham’s School of Music

The 1,185th recital since taking over from the council in 2001 featured youngsters from Chetham’s School of Music, Manchester. The UK’s largest specialist music school, Chetham’s offers a co-educational boarding and day school experience for students aged 8 to 18. Renowned for its rigorous musical training, all students enter through musical auditions. The school fosters a vibrant and supportive community, attracting students from around the world.

Three students were expertly accompanied by award winning staff pianist Ruth Hollick BMus, PPRNCM, PGDip, a RNCM graduate who also performs extensively as a soloist, chamber musician and accompanist for example with Bolton Choral Union and the Haydock Male Voice Choir.

First up was James who played Gregson’s Tuba Concerto of 1976 with verve and confidence (appropriately, Mancunian Edward Gregson is a prolific composer and a former principal of the RNCM). The outer movements were strident and rollicking, whilst the slow middle movement created moments of sadness, stillness and reflection, like tears down the cheeks of a clown.

Youthful soprano, Madeleine sang Quilter’s Five Shakespeare Songs, Op. 23, and three of Britten’s Folksong Arrangements – the slightly sinister folk tale of Little Sir William; The Ash Grove with Britten’s unusual piano accompaniment adding a second dimension to the simple tune; rounding off with the short and delightfully savage Oliver Cromwell. Her pure lyrical tone was like a refreshing English rose sandwiched between thorny but amazing concertos.

Finally, violinist Filip delivered two movements of Shostakovich’s Violin Concerto No. 1 in A minor, Op. 77. The Passacaglia was powerful and dazzling with a staggering cadenza culminating in a fiendish Burlesque final movement. This was fine playing with panache and passionate virtuosity beyond his years. Stunning and vital, this was a thrilling performance.

Underpinning the whole recital were Ruth Hollick’s superb accompaniments/collaborations. The heritage piano (Challen 8’ Grand 1935) sounded well in her hands and she helped her charges make memorable music for a very appreciative audience.

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

Wednesday 6th May 2026 – Madeleine Brown piano (RNCM)

Described as having “the potential to become a major voice in the classical music world” (Peter Donohoe CBE), Madeleine Brown is establishing herself as an exciting young pianist. After graduating in music from Cambridge, she is now studying with Kathryn Stott at the RNCM.

In 2025 she won the RNCM’s prestigious Gold Medal and was recently awarded the Silver Medal by the Worshipful Company of Musicians, adding her to the acclaimed Young Artist Programme. All this added to her many impressive credentials such as 1st prize in both the RNCM and Cambridge University Concerto Competitions. In 2026, Madeleine makes her debut at the Ryedale Festival as a Waverley Young Artist, alongside performances for Leeds Lunchtime Concerts and the Sunday Piano Series at Royal Concert Hall, Nottingham. Madeleine has received masterclass tuition from several renowned pianists.

Today’s concert at St Mary in the Baum in Rochdale was sandwiched between her performances at the mecca for concerts, Wigmore Hall in London the preceding week and the following – a rare distinction.

Madeleine has an engaging manner and her stamina, powerful interpretation and virtuoso playing are impressive; the audience was mesmerised, not least as she played the whole recital from memory. With only a few minutes to familiarise herself with the 1935 Challen 8’ Grand Piano, she managed to dig deeper into its sonorities than other players. She certainly made the most of it and immediately stamped her authority with a dramatic Polonaise-Fantaisie, Op.61 by Chopin.

The choice of excerpts from Rameau ‘s Suite in G major was unusual because of the typical Baroque dominance of Bach and Handel etc. but proved delightful and refreshing. They are charming early examples of programme music as each movement has a descriptive title.

In contrast the atmospheric contemporary piano piece Black Earth, by Turkish pianist-composer Fazil Say was inspired by an ancient Turkish ballad. To achieve maximum effect the player reaches into the strings and touches and mutes them along with conventional virtuoso keyboard playing to achieve a symbolic empty space, the unearthly harmonics helping Madeleine to create a twilight zone.

The piece de resistance was Prokofiev’s Sonata No.7, the second of his three ‘War’ sonatas of 1942. Through Madeleine’s mastery and incisive interpretation, we fully appreciated its rhythmic complexity, striking discords and emotional depths … sensational! We should agree with Peter Donahoe’s prediction.

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