National Centre For Early Music

Nestled within the historic heart of York, the National Centre For Early Music (NCEM) stands as a beacon for both the preservation and the vibrant, living tradition of early music. Far from the transient nature of many modern gig venues, the NCEM offers an experience steeped in historical resonance and acoustic purity, a place where the very stones whisper tales of centuries past. It's a venue that doesn't just host concerts; it curates journeys through time, inviting audiences to connect intimately with the sounds and spirit of bygone eras. For those seeking an authentic and deeply engaging live music experience, the NCEM is an unparalleled destination, offering a sanctuary for the soul and a testament to the enduring power of early musical forms.

The story of the National Centre For Early Music is intrinsically linked to its magnificent home: the medieval Church of St Margaret, dating back to the 12th century. This isn't a purpose-built venue; it's a sacred space that has witnessed over 800 years of history. The architectural origins of St Margaret's are rooted in Norman design, evidenced by its robust stonework and early Gothic features. Over centuries, it underwent various alterations and restorations, each layer adding to its rich historical tapestry. The transformation from a place of worship to a dedicated centre for early music began in the late 20th century, recognising the exceptional acoustic properties inherent in its ecclesiastical design. The soaring ceilings, the precisely angled stone walls, and the natural reverberation create an environment where delicate melodies and intricate harmonies can unfurl with breathtaking clarity. This historical shell, once dedicated to spiritual devotion, now dedicates itself to the profound emotional and intellectual exploration that early music offers. The NCEM’s USP is its authentic historical setting providing unparalleled acoustic integrity for early music performance, a characteristic directly born from its architectural lineage.

The establishment of the National Centre For Early Music marked a pivotal moment for the discipline of early music performance in the UK. Founded in 1970, its aim was to foster the understanding and appreciation of music from the medieval, Renaissance, and Baroque periods. The centre quickly became a hub for artists and scholars alike, providing a vital performance space and a platform for research and education. Its impact extends beyond the performance of historical repertoire; it actively commissions new works inspired by early music traditions, ensuring the genre remains a living, evolving art form. The NCEM has been instrumental in nurturing generations of early music performers and ensembles, providing them with a professional stage to hone their craft and reach wider audiences. Its commitment to authenticity, from the use of period instruments to historically informed performance practices, has set a benchmark for excellence. The venue's consistent programming of high-calibre artists has solidified its reputation as a world-leading institution in its field, attracting international attention and contributing significantly to the cultural landscape of both York and the broader early music community.

The National Centre For Early Music, by its very nature, fosters a unique kind of performance where the music's purity and the performer's skill are paramount. While not hosting the boisterous crowds of rock concerts, the NCEM has witnessed moments of profound artistic brilliance and intimate connection between artists and audiences. Its USP, the authentic historical setting providing unparalleled acoustic integrity for early music performance, allows audiences to experience nuances in sound that are simply lost in less acoustically pure venues.

Here are some of the legendary nights and defining performances that have graced the NCEM stage:

• The Hilliard Ensemble in Concert (Multiple Dates): This iconic vocal quartet, renowned for their exquisite blend and profound interpretive depth, gave numerous unforgettable performances at the NCEM, showcasing medieval and Renaissance polyphony with unparalleled clarity. Their performances here were often described as transcendent, deeply moving experiences.
• Jordi Savall and Hespèrion XXI (Circa 2005): The legendary Catalan viol player and conductor Jordi Savall, a titan of early music, brought his ensemble to the NCEM, delivering a mesmerising performance that explored the rich musical heritage of the Mediterranean. The acoustics of the church amplified the intricate interplay of instruments and voices, creating an immersive soundscape.
• Emma Kirkby's Recitals (Multiple Dates): Often hailed as the "Queen of Baroque," Dame Emma Kirkby's soprano voice, renowned for its purity and agility, found its perfect sonic home within the NCEM. Her recitals of Handel, Purcell, and Monteverdi were consistently sublime, demonstrating the raw emotional power of early vocal music.
• The Tallis Scholars Performing Thomas Tallis's Spem in Alium (Circa 2000): The challenge of performing Tallis's monumental 40-part motet, Spem in Alium, is immense, but the NCEM provided an extraordinary setting for The Tallis Scholars to tackle this masterpiece. The space allowed the composer's intricate sonic architecture to be fully appreciated, creating a truly awe-inspiring experience for the audience.
• Red Priest's "The Baroque Speed Dating" (Circa 2010): While often performing works of profound beauty, the NCEM also embraces more virtuosic and entertaining aspects of early music. Red Priest, a charismatic baroque ensemble, delivered a highly energetic and engaging performance, showcasing their flamboyant style and technical prowess, proving that early music can be as electrifying as any modern genre.
• Ensemble Correspondances Performing Charpentier (Circa 2018): This esteemed French ensemble, dedicated to the 17th-century French repertoire, presented a deeply moving rendition of Marc-Antoine Charpentier's chamber music. The intimate setting of the NCEM allowed the delicate textures and expressive colours of the period instruments to shine through, captivating the audience.

These performances, among many others, highlight how the NCEM’s unique setting amplifies the inherent qualities of early music, making each concert a deeply resonant and memorable event.

The National Centre For Early Music is committed to making its events accessible to all patrons.

• Wheelchair Access: The main performance space is generally accessible for wheelchair users. Access is usually via a ramp, and staff are on hand to assist. It is highly recommended to contact the venue in advance to discuss specific seating arrangements and ensure the best possible experience.
• Assistance Dogs: Assistance dogs are welcome at the venue.
• Hearing Loop: A hearing loop system may be available. Enquiries should be made directly with the venue regarding its availability and functionality.
• Accessible Seating: Dedicated seating areas for patrons with mobility issues are available. Again, booking in advance and informing the venue of your needs is essential.
• Assistance: Venue staff are trained to provide assistance to visitors with disabilities. Please do not hesitate to ask for help upon arrival or by contacting the box office beforehand.

To ensure a smooth and enjoyable visit to the National Centre For Early Music, please be aware of the following:

• Door Times: Door times for concerts typically vary depending on the performance. It is always best to check the specific event details on the NCEM website or your ticket for the scheduled opening time.
• Age Restrictions: While most events are suitable for all ages, some performances might have specific age recommendations or restrictions. Please verify this for the event you are attending. Young children may require a ticket.
• Bag Policy: Generally, large bags and backpacks are discouraged due to limited space and security considerations. Small bags and handbags are usually permitted. Please check the specific event policy if you have a larger bag.
• Security: For everyone’s safety and comfort, the venue may conduct bag checks. Please cooperate with security staff.
• Photography: The use of flash photography is typically prohibited during performances as it can be disruptive to both the performers and the audience. Still, non-flash photography might be permitted for certain events, but professional filming or recording is strictly forbidden without prior authorisation. Always check the specific policy for your event.