Toad Lane Concerts, Rochdale
5th November 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 1,210 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 11th November 2026 – Nina Savecevic concert pianist (RNCM

Here are the next events to whet your appetite.

- Nov 18 – The Kell Wind Trio: Alastair Roberts (flute) Penelope Bisby (clarinet) Alex Kane (bassoon)
- Nov 24 – Imogen Garner mezzo soprano (RNCM) & John Gough piano (former RNCM staff)
- Dec 02 – Telemann Baroque Ensemble: Alastair Roberts flute Elaine da Costa & Sarah Snape violins, John Goodstadt viola Rosy Hickman cello Robin Shakespeare harpsichord
- Dec 09 – Liana Storey piano
- Dec 16 – Notability Choir
- (Reopen 2027 with concert No 2,217)
- Jan 07 – More than Melody Ladies’ Choir

Previous Performance Reviews.

Wednesday 4 November 2026 – Duncan Reid violin (Manchester University & RNCM) & Despina Reid violin (RNCM)

Originating from Bucharest, Romania, Despina Reid was born and raised in a musical family. She started learning the violin at the age of 5; formal musical studies began in 1990 at the George Enescu Liceé of Music. During this time, she gave numerous solo recitals across the country, and live performances for Romanian TV and Radio. In 2003, Despina won a major scholarship to the RNCM; she also performed live for Romanian TV from the Athenaeum Concert Hall. After graduating with Honours in 2007, she settled in Manchester and performs both in the UK and abroad. Despina plays on a Nicola Utili violin, made in Bologna in 1912.

Born in London and raised in Bristol, Duncan Reid began the violin under Kay Hurwitz. Many years later, Duncan attended her husband Emanual (Manny) Hurwitz’s Chamber music courses, where he was both coached by Manny and helped by him in finding the Pierre Joseph Hel violin that he plays today. Duncan studied on the RNCM and Manchester University Joint course, before playing in various Orchestras (including Opera North) and ensembles. Indeed, it was chamber music that brought the two of them together and they have been married for almost 20 years.

The duo recital from these top-class musicians was not only an exhibition of excellent violin technique and playing together, but also of the development of violin music, all of which they proved to be consummate exponents, making it look so natural!

Duet playing is a crucial part of teaching and learning the violin. Through it, music can be caught as well as taught; as with the human voice, fine tuning is paramount. However, the composers here elevated this educational approach to making great music.

The Baroque master, Jean-Marie Leclair dominated the development of violin repertoire and technique in the early C18. His Sonate V for two violins in the hands of Despina and Duncan came alive in rich tone and interesting harmony and counterpoint in the generous acoustic of St Mary in the Baum.

Likewise, the Classical period duos by ‘father of the string quartet’ Joseph Haydn extended to those of Jaques Féréol Mazas, the French Romantic violinist and composer and Director of the Paris Conservatoire. To help them bring the music off the page and into the C21 the whole programme was read from i-pads with electronic foot pedals for page turning in an impressive conflation of ancient and modern!

After such an erudite and enthusiastic survey, we had a surprise encore; not a Hoe Down (perhaps next time) but a tango – Por Una Cabeza by Carlos Gardel, a song arranged most effectively by Augustin Hadelich. Here the C20 flavours of Jazz and world music fused with seductive and persuasive rhythms. “Por una cabeza” is literally horse‑racing slang as in winning or losing ‘by a horse’s head’, here symbolizing the narrator’s similar experiences with love and temptation. These two pedigree players were definitely neck and neck all the way and way ahead of the field.

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