LUNCHTIME RECITAL
Sally Quantrill – flute
Lydia Bosworth – piano
FREE ADMITTANCE
Retiring Collection
The Programme
Sally Quantrill – flute
Lydia Bosworth – piano
Sonata in D Major, Wq 131 (1747)
i) Andante
ii) Allegretto
iii) Allegro
Suite in A
1. Prelude
2. Minuet
3. Sarabande
4. Gavotte
Le Tombeau de Poulenc
1. Promenade
2. Berceuse
3. Danse
The Artists
Sally Quantrill, originally from Suffolk, read music at Leeds University. Whilst at Leeds she held a scholarship for three years and won the Lord Snowden Prize. Sally also studied at the Franz Liszt Musikhochschule, Weimar, Germany and at The Royal Scottish Academy of Music and Drama where she studied with David Nicholson. Sally then continued her studies with Kate Hill and Keith Bragg. Sally has been a past prize winner in the Anglo-Czechoslovak Trust Competition in London and a past council member of the British Flute Society. She continues to study with Kate Hill and enjoys a varied career teaching and performing. Sally holds the position of Head of Music at a school in Hertfordshire and is currently undertaking doctoral research in music education with Birmingham City University.
“Quantrill achieves a splendidly pure and vibrant sound…” – Oxford Times
Lydia Bosworth, née Clatworthy, studied with Fanny Waterman in Leeds from the age of fourteen. After gaining a First Class degree in Mathematics from Newnham College, Cambridge she studied piano accompaniment with Michael Dusek at the Royal Academy of Music, winning prizes and gaining the Diploma of Advanced Studies and the LRAM. Lydia has performed as a concerto soloist, as a repetiteur for the National Youth Music Theatre and as an official accompanist for the National Youth Orchestra. She has given many recitals throughout the country, including several under the auspices of the Countess of Munster Recital Scheme. Lydia has performed on BBC Radio 3 including a recital in the National Portrait Gallery which was broadcast on BBC Radio 3.
“Quantrill and Clatworthy have established an easy rapport, and together banish all thoughts of a soloist-accompanist relationship; this is a genuine double act, with both commanding equal attention” – Oxford Times
