NEWS

‘no one in the audience will ever be able to hear their great suites and partitas from now on without their feet itching to do the dance steps.” Review of London Handel Players @ Lakeside, Nottingham, February 2019

Posted By: Sinead O'Carroll, 12th March 2019


The March issue of GRAMOPHONE Magazine announces that Tasmin Little’s new CD of women composers Clara Schumann, Dame Ethel Smyth and Amy Beach is one of Michael Cullingford’s picks of the finest recordings of March 2019.

Posted By: Sinead O'Carroll, 12th March 2019


Tasmin Little’s latest CD receives three Editor’s Choice reviews this month

Posted By: Sinead O'Carroll, 12th March 2019


Classical Music Magazine: These Women’s Works – Tasmin Little/Chandos

Posted By: Sinead O'Carroll, 4th February 2019


London Handel Players: A new programme of Sunday afternoon chamber music concerts in London @ The Charterhouse

Posted By: Sinead O'Carroll, 11th February 2019


‘Renaissance woman’ – a review of Tasmin Little’s evening of concerti in Stratford-upon-Avon on 5 February 2019

Posted By: Sinead O'Carroll, 11th February 2019


After a performing career spanning more than 30 years, it is time for a world of new challenges for Tasmin Little

Posted By: Sinead O'Carroll, 25th January 2019

As Tasmin Little’s manager, I write the news that the 19/20 season will be Tasmin’s final year on the concert stage with a mix of emotions.  It is hard to find a more generous, giving and beautiful nature than that of Tasmin Little.  She is a sublime and irreplaceable musician, an outstanding orator and communicator and her performances, commitment to and passion for the violin repertoire, her mission to open up classical music to everyone and her campaign for music education in our schools are beyond par.

What started out for me as an initial work meeting in a coffee shop in Ealing (where I first got to know Tasmin’s deep love of coffee!) developed over 10 years into a great working relationship and a valuable personal friendship.  I am looking forward to the next chapter in Tasmin’s life.   I have no doubt whatsoever that the world will open up wonderful possibilities for her and we will all be hearing her name in different guises.

The 19/20 season will be her final one with her last concert taking place at the end of the summer.  I will keep everyone updated with her concert schedule here so that you hear her one last time.  I enclose a letter from Tasmin below.

 

 

January 2019

Dear Friends and Colleagues

 

Please forgive this general announcement, rather than a personal email, but there are a great many of you and I wish to reach you all at the same time! I have some news to share…

 

After more than 30 years on the concert platform giving something approaching 2000 performances, I have, after a great deal of thought, decided to hang up my concert gowns in the summer of 2020.

 

My performing career has taken me to every continent of the globe, to most of the major concert halls with a wondrous array of international orchestras and incredible conductors. For three decades, I have enjoyed very special partnerships with Piers Lane, Martin Roscoe and John Lenehan.  I have given hundreds of presentations in schools and have had opportunities for 10 years to visit numerous small communities far and wide with my Naked Violin Project, forming connections that have often been exceptionally touching and truly special.  I have made over 40 commercial recordings, appeared on a huge quantity of television programmes, made documentaries for TV and radio, presented radio programmes, been the Artistic Director of two festivals, written countless articles for magazines and newspapers, and given something in the region of 1000 interviews across all forms of media.  And I have enjoyed every moment of it and treasured all the opportunities that a life in music has given to me.

 

I’ve decided it’s time to find a little more space in my life for some of my many other interests!

 

There are a great deal of things I plan to do and explore, both musical and non-musical. Some of these in musical spheres include: developing my continuing presence within the media, via radio, writing, presenting and television, persisting with and progressing my involvement with the campaign for music education to remain a vital component of the national curriculum, maintaining my wonderful association with the Royal Academy of Music with public masterclasses, and finding some time to enjoy international jury work in music competitions (at least I’ll be able to sit down for some of these!).

 

In the immediate future, I will be spending the next 18 months enjoying the remaining engagements that I have scheduled in my diary and, should any of you feel you wish a final “curtain call” from me before summer 2020, please do feel free to be in touch with Sinead and Denise and we will try our best to make time in the schedule for some additional concerts.

 

In bowing out (forgive the pun), I wish to thank each and every one of you who has played a part in my career, whether you have given me concert engagements, other professional opportunities, been a loyal member of my audience, or simply been there to encourage me during more challenging times. All this has never been taken for granted and has been the main reason I have continued my career for so many years.

 

I have loved every moment but now it is time for me to embrace a new perspective and relish new challenges and opportunities.

 

I can assure you, though, that this is not “Goodbye”, it is more: “See you around!”.

 

With heartfelt thanks and warmest wishes to you all

 

Tasmin


Transylvanian quartet enjoys sinking teeth into Bartók. Limelight Magazine, Australia review Jan 2019

Posted By: Sinead O'Carroll, 22nd January 2019

This young group, formed while studying at the Gheorghe Dima Music Academy in Roumania, has been building quite a reputation. Hailing from Transylvania, they claim a special connection with Bartók’s quartets. Such nationalist appropriation usually raises my hackles, but having listened enraptured I say fair enough.

This is wonderfully imaginative playing – a more relaxed approach than the high-tension of some recent rivals. The expansive tempi allow room for savouring some extraordinary textures and sonorities, letting sounds resonate and hang in the air. Their lovely tonal blend, captured in a typical Chandos warm acoustic, is in the classic East-European soft-grained tradition but doesn’t sugarcoat these modernist icons. The primal savagery is conveyed with foot-stamping energy and earthy colours, while melancholia and wistful longing pervade the atmospheric slow movements.

Clinical precision is eschewed in favour of expressive freedom and folkloric colouring – the buzzing night sounds shimmer through a heat haze – more post-impressionist landscape than expressionist nightmare. The outer movements of the Fourth Quartet are less hectoring than usual, while the middle movement’s viola tune has a tearful lump in its throat.

Read more

Raphael Wallfisch/Cape Town Philharmonic Orchestra: Photos from last week’s performance

Posted By: Sinead O'Carroll, 19th November 2018


Tasmin Little in Winnipeg, Canada: Interview on Winnipeg Classic 107

Posted By: Sinead O'Carroll, 12th November 2018


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