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Summer lunchtime concerts begin on Wednesday 5th July 

All the lunchtime concerts will be held in St. Iberius Church and will begin at 1.05 pm

Ticket Prices: €12, €10 (concession) & €5 (students)

Wednesday 5th July          Young Musicians

Caoimhe Duggan   The Cloths of Heaven (Dunhill)

Kate Bone   Christopher Robin is saying his prayers (Fraser-Simon)

Duet: Planets (Sue Furlong)

Aoife Goodison   Santa Lucia (Teodoro Cottrau)

                                I know where I’m goin (arr. by Herbert Hughes) 

                                The Sweet Nightingale (WH Anderson)

                                 I feel Pretty (Bernstein)

Accompanist: Eithne Corrigan

The Mercer Ensemble   Danny Boy (traditional)

                                            The Wind from the South (traditional)

                                            Morning (Grieg)

                                            Largo from Winter (Vivaldi)

                                            Ode to Joy (Beethoven)

                                            Symphony No 7, 2nd Movement (Beethoven)

                                            Libiamo from La Traviata (Verdi)

                                            Mamma Mia


Music for Wexford Concert Series 2017


Saturday 10th June 2017

Time: 1.05pm

Venue: St. Iberius Church, Wexford

Admission: €17, €14 (concessions) & €5 (students)


New Dublin Voices


Music for Wexford is delighted to announce the first Wexford recital by New Dublin Voices. The fascinating programme will feature sacred and secular works from Germany, Latvia, Lithuania, Denmark, Norway, Finland, USA and Ireland. The composers and arrangers featured include Palestrina, Stanford, Howard Goodall and Michael McGlynn.


This award-winning chamber choir was founded in 2005 by Bernie Sherlock and presents concert programmes that are fresh, innovative, and exciting, ranging widely in style and period from the medieval to the contemporary. The choir takes special pleasure in exploring the music of living composers, leading the way in performing, premiering, commissioning and disseminating Irish choral music and introducing international choral music to Irish audiences.


NDV has won prizes at major competitions in France, Hungary, Germany, Finland, Belgium, Spain, England and Italy, including first prize at the Concorso Polifonico in Arezzo, Italy in August 2013, the Grand Prix at the 12th Budapest International Choir Competition 2009, all six prizes at the 2011 International Choir Contest of Maasmechelen, Belgium, the Fleischmann International Trophy at the 2015 Cork International Choral Festival, and 2nd prize at the 2016 Harald Andersén Chamber Choir Competition in Helsinki. NDV is very happy to have been selected as one of 24 choirs world-wide (and the first Irish choir) to perform at the 11th World Choral Symposium, to be held in Barcelona this July.

The singers who make up New Dublin Voices come from many backgrounds but have in common high levels of experience and musicianship, a commitment to attracting new audiences, and, above all, a love of performing excellent choral music.




Many music lovers will remember with delight Philip Martin’s last visit to Wexford in April 2013 when he introduced the audience to the music of the American composer Louis Gottschalk. He returns to St. Iberius Church on Friday 5th May at 8pm to give a recital in celebration of his 70th birthday. The first half of the concert will take the audience on a musical tour of his career as a pianist and composer while the second half will feature the marvellous variations and fugue on a theme by Handel by Brahms.


On Saturday 13th May at 8pm, Music for Wexford will host a concert in St. Anne’s Church, Killanne. This is the initial step in an initiative to promote recitals in the small churches of County Wexford. This first concert will be given by the Musici Ireland Quartet (John Hearne, bassoon, Mia Cooper, violin, Beth McNinch, viola and William Butt, cello).


Tickets for both concerts are available from the National Opera House ( or at the door on the evening of the concert.

Please note the following change to the Summer Lunchtime Concert series programme.


The Ensemble Dagda concert which was originally scheduled to take place on Wednesday 19th July has been moved to Wednesday 2nd August.

The Lynda O’Connor/Alexander Bernstein concert originally scheduled to take place on  Wednesday 2nd August will now take place on Wednesday 19th July.


J.S. Bach: Adagio and Fugue Sonata 1

L. van Beethoven: Sonata No 5 Spring

Cesar Franck: Sonata in A

Traditional Irish ‘The Coolin’ arr. Esposito

H. Wieniawski: Variations on an Original Theme Op. 15

Fritz Kreisler: Liebeslied

Sunday 26th March 2017 at 3.30pm

St. Iberius Church, Wexford


Gabriel Fauré: Apres un rêve, Op.7, No.1

Gabriel Fauré: Élégie, Op.24

Camille Saint-Saëns: Deuxième Sonate, Op.123

New Music Network commission by Kevin Volans

Franz Liszt: Première Élégie, S.130

Johannes Brahms: Cello Sonata No. 1 in E-minor, Op38


Sunday 18th Sept 2016 at 3.30pm

St. Iberius Church, Wexford

Trio Rodin

Carles Puig, violin

Esther García cello

Jorge Mengotti, piano









Haydn (1732-1809): Piano Trio Hob. XV / 25 “Gypsy”

  1. Andante
  2. Poco adagio, cantabile
  • Rondo a l’Ongarese: Presto


Franz Joseph Haydn was afforded a rare luxury in his lifetime, that of being hired by a rich patron as an in-house composer and spending most of every year writing fresh works for a talented group of musicians to perform in front of a highly congenial audience, namely Prince Nikolaus Esterházy. In 1790, that all changed; Esterházy died, and his successor was not interested in maintaining the court orchestra. Haydn was released to travel wherever he liked, retaining a modest payment from the royal family. Thus, having worked at the Esterházy estate for many decades, honing and perfecting his compositional voice, Haydn was quite ready to meet the rest of the musical world head on. The fifty-eight-year-old composer was immediately approached with an invitation to give a series of concerts in London, and so, in 1791, he packed his bags for the first of two wildly successful trips to England.


These trips bore very ripe fruit, as some of Haydn’s most popular works were composed during these London visits, particularly the so-called “London symphonies.” This was no coincidence, as Haydn was consciously endeavouring to drum up excitement, and all the financial remuneration such excitement would bring with it, with deliberately dramatic, exciting music.


This afternoon’s piano trio is Haydn’s best known in the genre.  The string parts, especially in the ’cello, are not as independent of the piano as they later became in trios but the writing is extremely imaginative and attractive.  The first movement features alternating major and minor sections, with the final statement of the main theme elaborated splendidly in the piano.  The middle movement features absolutely ravishing melodic writing for the violin and the finale is in a style developed from the Gypsy music which Haydn doubtless heard local musicians play at Esterházy.  Incorporating well known Gypsy music, especially verbunkos, the dances used in military recruitment, was a first for Haydn in this most exciting finale.


Granados (1867-1916): Piano Trio op. 50 in C Major


  1. Poco allegro con espressione
  2. Scherzetto

III. Duetto

  1. Finale


Performer, composer and teacher, Enrique Granados stood with de Falla and Albéniz as the most outstanding Spanish musician of his time. Among his dozen or so chamber works the Piano Trio and Piano Quintet, both from 1894, exemplify Granados’s highly expressive, neo-romantic style, his piano writing revealing the hand of a virtuoso. Amiable touches of dance and salon music, hints of Moorish, gypsy and folkloric elements, co-exist in these beautiful, refined pieces.


As a young man Enrique Granados studied piano in Barcelona and Paris. He returned to Barcelona in 1889. His first successes were at the end of the 1890’s, with the zarzuela Maria del Carmen, which earned the attention of King Alfonso XIII.


In 1911 Enrique Granados premiered his suite for piano, Goyescas, which became his most famous work. It is a set of six pieces based on paintings of Goya. Such was the success of this work that he was encouraged to expand it; he wrote an opera based on the subject in 1914, but unfortunately the outbreak of World War I forced the European premiere to be canceled. It was performed for the first time in New York in1916, and was very well received. Shortly afterward he was invited to perform a piano recital for President Woodrow Wilson.


Unfortunately the delay incurred by accepting the recital invitation caused him to miss his sailing back to Spain. Instead, he took a ship to England, where he boarded the passenger ferry Sussex for Dieppe, France. On the way across the English Channel, the Sussex was torpedoed by a German U-boat, as part of the German unrestricted submarine warfare policy during World War I. In a failed attempt to save his wife Amparo, whom he saw flailing in the water some distance away, Granados jumped out of his lifeboat, and drowned. Ironically, he had a morbid fear of water for his entire life, and he was returning from his first-ever series of ocean voyages.


Debussy (1862-1918): Piano Trio in G major

  1. Andantino con moto allegro
  2. Scherzo: Moderato con allegro
  • Andante espressivo
  1. Finale: Appassionato


Debussy entered the Paris Conservatoire in the autumn of 1872 at the age of ten. His parents hoped that he would become a piano virtuoso and remove them from the genteel poverty in which they lived. Although Debussy won a second prize for piano-playing in 1877, the first prize eluded him, and two years later, when he failed to win any piano prize, his parents had to admit their dream would never be fulfilled.


In 1880, Debussy’s piano teacher, Antoine Marmontel, took note of his first prize in score-reading and subsequently recommended Debussy to Tchaikovsky’s patroness, Nadedjda von Meck, who was looking for a pianist to accompany her and her children on their travels. Debussy was engaged, and his duties included giving piano lessons to her children, accompanying her twenty-seven year old daughter Julia (a singer), and playing piano duets with Mme. Von Meck. Their journey that summer took them throughout Europe, ending in Florence where the family was joined by the cellist Danilchenko, who had just finished studying at the Moscow Conservatory, and the violinist Pachulsky. This trio of excellent musicians was required to perform every evening; their repertoire included Russian music and the compositions of Beethoven and Schubert.


Perhaps it was as a result of this exposure that, soon after, Debussy composed his Piano Trio in G. What were considered compositional weaknesses at the time later became Debussy’s strengths. For example, Debussy frequently uses pedal notes, bass tones sustained through several changes of harmony in the other musical voices; these tones create dissonance and throw decorative elements into relief. His tendency towards modal melodic patterns would, handled with mastery over a decade later, help lend Pelléas et Mélisande its distinctive atmosphere of far away and long ago


Shostakovich (1906-1975): Piano Trio no 1 op. 8 in C minor (1923)


For years, audiences knew of only one Shostakovich piano trio, the Trio in E Minor of 1944. But Shostakovich had written a Piano Trio in C Minor in 1923, when he was a 17-year-old student at the St. Petersburg Conservatory. Though he did not have it published, he did perform the music in public and listed it as his Opus 8. In the sequence of Shostakovich’s work, this trio comes just before the First Symphony of 1925, which catapulted the composer to worldwide fame. Like several others of Shostakovich’s early works, it dropped out of sight and remained unknown, in this case for sixty years.


In 1981, six years after Shostakovich’s death, his pupil Boris Tischenko prepared a performing edition of the trio. This was necessary because some small sections of the manuscript had disappeared. Tischenko had to compose a 22-measure passage for the piano to make up for this, and he edited the work for performance. Soon performed in the West as well as in Russia, the trio was recognized as fully characteristic of Shostakovich’s early style. It has been recorded and represents a valuable addition to the catalogue of the composer’s chamber works.

Only about fourteen minutes long, the Trio in C Minor is in one continuous movement that falls into four subsections. Even these, however, are characterized by so many sudden and mercurial shifts of key, tempo, and mood that the trio has been compared to a rhapsody. But Shostakovich unifies this music around the cello’s three-note figure heard at the very beginning; this will recur in many guises throughout. It is altogether characteristic of Shostakovich–even at age 17–that he has left the home key of C minor behind before he has fully presented the opening statement. A lyrical  second idea is also announced by the cello, and the structure of this trio is very loosely based on sonata form as the music moves through a series of sharply-contrasted sections (one of them titled Prestissimo fantastico) to the energetic close.

(Note by Eric Bromberger)




Comprised of Carles Puig, violin, Esther Garcia, cello and Jorge Mengotti, piano, Trio Rodin was founded in 2011 in Utrecht, The Netherlands, with the aim of developing professional careers in chamber music, diving into the rich piano trio repertoire. Hailed as one of the most outstanding young Spanish ensembles of their generation, their principal focus is defined by the presentation of great works of the chamber music repertoire in a diverse range of performing venues and program styles, from classical to contemporary music.


They have received several awards in prestigious international chamber music competitions such as 1st prize in the well-known Chamber Music Competition Montserrat Alavedra in Terrassa, the Jury Prize in the renowned Storioni Festival 2013 in s’Hertogenbosch, The Netherlands, 2nd prize in the International Competition Villalgordo del Júcar in Albacete, Spain and 2nd prize in the Josep Mirabent i Magrans Competiton in Sitges, Spain. They have also been finalists in the International Competition Ecoparque de Trasmiera in Arnuero, Santander and in the Paper de Música de Capellades in Barcelona.


They’ve also performed in leading music halls and festivals all over Europe, such as the The Concertgebouw Kleinezaal in Amsterdam, “Mas i mas” Festival in Barcelona and the “Festival de Musica de Camara de Monteleon”, among others, in hand with an intense concert schedule in Spain, Italy and Ireland.


Their performances have been broadcast by Radio 4 (The Netherlands) and Catalunya Música (Catalonia).



Our final concert of 2016


Sunday 20th November 2016 at 3.30pm

St. Iberius Church, Wexford


Aoife Burke, cello

Dearbhla Brosnan, piano



The recital will include works by Schumann, Beethoven and Chopin


Ticket sales

Tickets for all concerts may be purchased at the door. Ticket prices: €17, €13 (concessions) & €5 (students)

Music for Wexford,after a short Summer break will resume the 2016 programme on Sunday September 18th , in St.Iberius Church, Wexford Town @ 3.30pm with Trio Rodin. We look forward to seeing you all.Thank you for all your support . See the flyer for further information .Displaying Trio Rodin DL final2.jpeg

Friday 17th June 2016 at 8pm

Jerome Hynes Theatre,

National Opera House Wexford


Musici Ireland Sextet

Mia Cooper, violin
Jane Hackett, violin
Beth McNinch, viola
David Kenny, viola
William Butt, cello
Grainne Hope, cello



Brahms String Sextet no. 1 in B flat major op 18

Brahms String Sextet no. 2 in G major op 36


Programme Notes


The classical repertoire contains few string sextets. One such early effort is Brahms’s String Sextet No. 1, scored for pairs of violins, violas, and cellos. Beethoven had composed many quartets, but not a single sextet. It was a genre known only to the lesser talents of Spohr and Boccherini, and, as of 1860, the twenty-seven-year-old Brahms, who opted for a sextet exactly because of its rarity. At the time, the young composer was spending his summer as music master of the royal court of Detmold, where his duties were sufficiently limited as to allow much opportunity for pleasant walks in the woods. Perhaps that mellow atmosphere contributed to the composition’s gentle charms. Upon completing the piece Brahms sent it to his friend, the violinist Joseph Joachim, with a note reading, “I have been quite a long time over it and I do not suppose that this will have raised your expectations… but with God’s help, nothing is impossible.” Joachim, after playing through the piece with friends, expressed cautious optimism and arranged a premiere in Hanover on October 20, 1860.


Brahms was present for the occasion, as was his dear friend Clara Schumann, who remarked of the piece, “It was even more beautiful than I had anticipated, and my expectations were already high.” Spared the burden of Beethoven’s ghost, the new sextet – and its young creator – scored a success


Around the time of the Sextet No. 2, Brahms was in the middle of one of the big romances in his life, with the singer Agathe von Siebold. Many of their friends, in fact, felt that an engagement was on the way. But Brahms wasn’t ready to commit, and wrote her that while he wanted to continue their relationship, he didn’t wish to “wear fetters.” They soon parted ways, and the composition of the Sextet No. 2 was to some extent cathartic for Brahms: after completing the work, he wrote to a friend, “Here I have freed myself from my last love.” But she was constantly on his mind. In fact, at three points in the Sextet’s first movement, one can hear the violins playing her name in notes: A-G-A-D-H-E (with the “D” replacing the “T,” and the “H” designating the note B natural in German).


When Brahms started work on his second sextet he was apparently in the same emotional turmoil he had been in while composing his first. Though eternally devoted to Clara Schumann, he had allowed himself to become temporarily engaged to Agathe von Siebold, a young soprano who inspired several of his songs. Enshrined in the music are his memories of Agathe as well as the state of his thoughts about Clara. The letters of Agathe’s name (AGAHE in German musical nomenclature, AGABE in English) form the passionate climax of the first movement’s second subject, though by the time he wrote it their engagement was in the past, even if the music suggests that strong feelings still existed.

This work, however, is not to be interpreted as an autobiographical composition; Brahms would have been the first to insist that it be heard as abstract music. Nevertheless it does have an unusual mixture of energy and plaintiveness, as well as a strong motif of vanished love.


The musicians


Musici Ireland is based in County Wexford. It was established in 2012 by Beth McNinch, consists of the cream of Irish talent, who are all highly regarded soloists, chamber and orchestral musicians.  Beth was also keen to create an ensemble that could collaborate with artists from different disciplines, such as composers, actors, poets, puppeteers and dancers. Future plans for the group involve wonderfully inventive educational projects and commissions from Irish composers, as well as resurrecting long forgotten works.


Mia Cooper, violin studied at the Royal Northern College of Music with Yossi Zivoni and has been involved in a wide variety of music making in the ten years since. She was principal first violin of the Royal Philharmonic Orchestra for five years, and also regularly plays and records with London’s chamber orchestras and ensembles, including the Fibonacci Sequence, Barbican Trio, Brodsky Quartet, Chamber Orchestra of Europe and Academy of St Martin-in-the- Fields. Mia was a guest leader of the CBSO, and BBC National Orchestra of Wales and before moving to Dublin, spent three summers leading the St Endellion Orchestra. Mia participates in chamber music festivals across Europe, and also in Mumbai, and last summer performed in Lithuania a music project of A Midsummer Night’s Dream where both rôles and music were performed by seven musicians (in Lithuanian).


As a soloist Mia has performed much of the Baroque solo violin repertoire with the New London Soloist’s Orchestra, and also plays as a soloist with the RTÉ Concert Orchestra. She has recorded a wide variety of chamber music, including works by Nicola Lefanu (Goldberg Ensemble, Naxos 8.557389), Bartók (Duos, with Yossi Zivoni) and Stanford (clarinet quintets with Rob Plane and the Gould Piano Trio).

Mia teaches violin at the Royal Irish Academy of Music. She was appointed leader of the RTÉ Concert Orchestra in 2006.


Jane Hackett, violin has studied since the age of eight at the Royal Irish Academy of Music and is now in her final year of the BA in Music Performance course, studying with Maeve Broderick. She is participating for the second time in the RTÉ NSO’s Mentoring Scheme and has toured Europe, America, China and Japan with the European Union Youth Orchestra, the National Youth Orchestra of Ireland and the RIAM Symphony and Chamber Orchestras. She is currently Leader of the RIAM’s Symphony and Chamber Orchestras. Jane has won numerous prizes at the Feis Ceoil and this year was a semi-finalist in the Freemason Young Musicians Competition.


Jane has performed as a soloist in many venues in Ireland and abroad, including the Helix, the National Concert Hall, the Carthage International Music Festival, Tunis, and in Glasgow with the Royal Scottish Academy’s Chamber Orchestra. She has just completed a very exciting Erasmus programme in Graz, Austria with Professor Maighread McCrann and Chia Chou. Jane plays a Michael de Hoog violin; her bow was made by Noel Burke.


Beth McNinch, viola, studied at the Guildhall School of Music & Drama and at the Royal Academy of Music in London. She began her freelance career in London, where she was in great demand from the major orchestras in the U.K. She performed regularly with the London Symphony Orchestra, BBC Symphony Orchestra, English National Opera, BBC Concert Orchestra, the Royal Philharmonic Orchestra, Royal Ballet Sinfonia,  London Sinfonietta, the City of Birmingham Symphony Orchestra,  the Ulster Orchestra, Bournemouth Symphony Orchestra and the BBC Symphony Orchestra of Wales. Since moving to Ireland in 2007, Beth has worked and toured in Ireland and America with the RTE National Symphony Orchestra and Camerata Ireland with Barry Douglas. She is principal viola of the Wexford Festival Opera Orchestra and has appeared as guest principal with English National Ballet, the RTE National Symphony and Concert Orchestras.


As a soloist, Beth has performed the Telemann viola concerto many times and has recorded it with the Corelli Ensemble. She has also performed Vaughn Williams’ Flos Campi for Solo Viola, Choir and Orchestra. Beth made her solo debut at the National Concert Hall in 2013. She performed Mozart Sinfonia Concertante in 2015 with Ioana Petcu-Colan, violin and the Wexford Sinfonia at the National Opera House, Ireland.


Beth is a prolific chamber musician, having played regularly in string quartets since the age of nine. She was a founder member of the Guillami quartet, formed in 1998, finalists in the Royal Overseas League chamber competition in 2002 and winners of the Bulldog Scholarship for string quartets from Trinity College. They have a recording of Shostakovich, Mozart and Walton and were resident quartet at the Ludlow Festival for four years.


Beth is the founder and Artistic Director of Musici Ireland, a chamber ensemble offering a unique platform for classical musicians of international repute to deliver a high quality of performance in Ireland, based on outstanding music for unusual combinations of instruments. The Members of Musici Ireland all come with a formidable wealth of experience as soloists, chamber musicians and orchestral players.


Beth plays on a cut down Viol by Barack Norman, dating back to the1650s. The instrument was made into a viola by Matthew Hardie in 1818.


David Kenny, viola is a native of Cork, graduated from the Cork School of Music having studied viola with Constantin Zanidache and Simon Aspell. As a freelance violist he has worked with the RTÉ National Symphony Orchestra, RTÉ Concert Orchestra, Ulster Orchestra, John Wilson Orchestra and the Irish Chamber Orchestra. He has played Principal Viola with the European Union Youth Orchestra and National Youth Orchestra of Ireland.


David has performed with chamber ensembles at the West Cork Chamber Music Festival (Young Musicians Platform), Music in Drumcliffe Festival Sligo, Interlaken Classics Festival Switzerland, Toscanasaal Wurzburg Germany, KBC Great Music in Irish Houses Festival, RDS Dublin and the National Concert Hall Dublin. He is a member of the Chiral Quartet, the ‘Ensemble in Residence’ at the CIT Cork School of Music. In June 2013 he had the privilege of performing two Mozart String Quintets with the Vanbrugh Quartet.


In 2012 David gave the Irish première of Geoffrey Burgon’s Viola Concerto with the CSM Chamber Orchestra and in 2013 performed Telemann’s Viola concerto with the CSM Baroque Ensemble. David acknowledges the support of The Department of Arts, Heritage and the Gaeltacht, Music Network and The Arts Council.


William Butt, cello was born in London. He studied at the Royal Northern College of Music with Moray Welsh and after winning awards and scholarships such as the Royal Society of Arts, Martin Trust and first prize in the Muriel Taylor competition, he furthered his studies with Antonio Lysy in Montreal. He now enjoys a busy career as soloist, chamber musician and is professor of cello at the Royal Irish Academy of Music.


On the concert platform he has performed extensively throughout Ireland, the UK, Europe and the Far East. In recent seasons he has appeared as soloist with the National Symphony Orchestra of Ireland, the Orchestra of St Cecilia and the Ulster Orchestra for BBC Radio 3.


He has performed and broadcast all the major concerti. In 1997 he gave the Irish premiere of the Walton concerto with the National Symphony Orchestra, in 2001 the Dvorak concerto with the NSO and 2003 a tour of the Schumann concerto with the NSO. As well as a performance of the Protecting Veil by John Tavener with the Hibernian Orchestra he undertook a series at the National Concert Hall in Dublin in 2004 with the orchestra of St Cecilia and Barry Douglas in which he played the Dvorak, Elgar, Shostakovich (No 1), Tchaikovsky Rococo variations, and both Haydn concerti in three concerts over a two week period. He has also performed and broadcast the cello concerto by Victor Herbert with the Ulster orchestra.


His recording of the three suites for solo cello by Benjamin Britten by Warner Music UK (Warner Classics/Apex) received very exciting reviews in the English press including the Observer and the Independent on Sunday in which the recording was awarded five stars. He plays on a fine cello made by Giovanni Grancino in Milan (1690).


Gráinne Hope, cello completed a Bachelor of Arts Degree and Bachelor of Music Performance in NUI Maynooth and the DIT Conservatory of Music and Drama before receiving a full scholarship to further her studies in America. She went on to complete a Masters Degree in Performance and an Artist Diploma with Ann Martindale Williams, principal cellist of Pittsburgh Symphony Orchestra at Duquesne University.


She has travelled widely and played with many orchestras in America and Ireland including the Altoona Symphony, Erie Symphony, Soesterberg Festival Orchestra, Camerata Ireland, RTE Concert Orchestra and the Wexford Festival Opera Orchestra.


Gráinne is founder and artistic director of Kids’ Classics which delivers a music programme in 4 of Dublin’s Children’s Hospitals and was chosen to represent Ireland to become a trainer or musicians in Healthcare Settings as part of a pioneering European programme with Music- Network (Ireland), Musique et Santé (France), Turku (Finland) and the Royal Northern College of Music (UK).


Gráinne is currently freelancing with Ireland’s Orchestras as well as tutoring with the Young Orchestral Pops Orchestras and working on Dublin City South East Strings Project taking place in Deis Schools.





The performance of Heroes of the Helen Blake concert takes place for the second time with Wexford Sinfonia & choir  in The National Concert Hall, Dublin, May 1st at 3pm . The concert will also feature Finlandia by Sibelius and Grieg’s Piano Concerto with Michael McHale.

Below is an interview about the performance with the composer, Liam Bates and Francesco Pons.