Tour of Hatfield House with Lord Salisbury and Dr Emily Burns

[Music] welcome to hatfield house for the ninth hatfield house chamber music festival thanks to the glories of the virus we've had to go viral if that's the right word this year and we're extraordinarily grateful to everybody who's taken to this new form of festival with such enthusiasm and such skill i hope that you'll enjoy our virtual festival this year and that we can go back to normal next year one of the things that has been suggested is that as part of the performance that we should try and set the wonderful music that you're about to hear into context and the context of hatfield house the builder of this house was a busy politician he followed his father as the most powerful man in england until his early death mainly from overwork i suspect although it was really a form of cancer he spent his time governing england but he had other obsessions as well he of course was passionate about architecture but among the other arts one of his other passions was was music so much so that he had his own uh set of musicians uh the lutonist cooper who according to the uh conventions of the time corrupted his name to the more professional sounding capraria he commissioned for instance great composer dowland and he kept his set of musicians busy at hatfield until his untimely death in 1612. so it might be of interest now that thanks to the persuasiveness of guy johnson that we are once again making hatfield a center for fine music if we set the history of the house and some of its context of its contents in the context of what we're doing for the music festival and help us through in my own ignorance of of the contents we're very very lucky indeed that dr emily burns has kindly come to help us discuss some of the works of art that the house contains perhaps i would say that as one of my daughters is went to to remind me we're not chatsworth we don't have any rembrandts or classical great works of art our real treasure of course lies in our library and in our archive but there are some interesting pictures some of which have considerable relevance to the music that you are going to hear during the course of the festival and emily is very kindly going to help us talk about some of them and set them in the context of the history of the house and i hope you'll enjoy well emily as you see we're now in the what we call the marble hall in a way a rather anachronistic room i think in the sense that if you look at the somewhat later queen's house in greenwich which um let in a complete architectural revolution i think if you were part of a new family like ours you rather liked having a medieval hall which implied that you were rather grander in descent than we actually were and essentially it's what was always here there was a much higher fireplace which was cut down by the victorians and the seaming is original except that it was done over in the 1870s by some italians called taldini i think they did rather a good job but the rest of it is pretty well as was the um cupboard is of the only bit of furniture we know which survives from the great palace at tibbles which was built by the great lord burley the father of the builder of this house and i think it's one of the few things part of some pictures that he brought with him but of course the thing that we really want to talk about here is the rainbow portrait which is one of the famous pictures we do have um of queen elizabeth the first and you know a great deal more about it than i do i think well this is of course one of the most famous portraits of elizabeth the first um so because of its name it's called the rainbow portrait you can't quite see the rainbow anymore because over the course of time the pigments have faded and changed color and so the original brightness is now really held by her amazing gown which is covered in quite unusual pattern of eyes and ears which is on the one hand said to represent her great fame she's of course a great propagandist and there are many portraits of her and many writings and sonnets to her she very much encouraged this but on the other hand it's possibly not too subtle reference to her being the eyes and ears of the country the nation and of course her spy network headed by wilsingham um so it's a sort of not-so-subtle hint at how she has knowledge um beyond the immediate surrounds of the room she's standing in she is actually about this is around 1600 this was painted and she's actually in her 60s at this time so not really as she appears in this picture um and siroy strong once called this the the mask of youth that she essentially cultivated towards the end of her 45 year time of reign she's got flowing locks like like a virgin you know people would wear that before they were married and of course she cultivated this image of her as being a pure and untainted virgin married only to her nation and god and that's supported by the pearls she adorns herself with a sign of purity um and then also we have this uh beautifully intricate coiled snake with um a sphere on top which is a reference to wisdom and intelligence so that paired with the eyes and ears is her intelligence network um which decorates her dress and of course spies were necessary weren't they because absolutely uh after the papal bull of 1570 regnans and that's chelsea's if you were a roman catholic who had to choose between your faith and loyalty to the queen and things really got serious after that hence effectively the great tradition of of english spy spy mastery was born there it happened was beginning before in the reign of henry viii i think but burleigh and wolfingham were as you say with the great masters and of course we had this uh you know i've always thought this is really about her it's not about her it's all about her isn't it non-sinusoidalist she's the sun there's rainbow there's no rainbow without the sun so gross piece of flattery yeah and she's also in a sort of sort of mask costume you know this isn't just state dress or court dress this is um fancy dress um and she and the other tudor monarchs and also the stuart monarchs are great fans of the court mask of dress-up and it suggests that she might be um the moon goddess which again is paralleled with the theme of purity um and there's a sort of like diana the crescent sort of moon shining at the very top of her headdress as a reference to that the artists of the day were actually employed consistently to decorate mask costumes decorate the royal palaces decorate the barges and the carriages you know if you were the court artist you weren't just painting portraits such as this you would be probably employed in many other ways and taking likenesses was only one very small part of your job so it's impressive that is actually um so good it's been attributed in the past to isaac oliver who's also a miniature painter and um attribution's often quite complicated of these sorts of pictures who do you think it's by do you think it's by garrett sayanga i think garrett's is a definite possibility um there are pros and cons to both i think but what you cannot deny is that it's an extremely powerful image of a very confident ruler at the end of her reign yes of course that hair is a weak wasn't it yep and that awful makeup which no doubt poisoned her yes it had lead lead to to cover as a sort of con foundation concealer which apparently made your skin gray and shriveled for the quotation um didn't improve her complexion whatever no but here she is youthful youthful and beautiful which perhaps um in view of what you said about the power of the queen rather brings us to this picture yes um so so this picture is a fed at birth lindsay um it has recently been re-attributed to marcus gertz the elder um and and this is for a number of reasons but based on comparison to his own artwork um but also especially because of a tiny little inscription that is in the lower left corner here which is on that little sort of rock that this boy lies across and what seems to have happened is the picture was dedicated to someone and then given um to the cecil's and therefore they had to paint over the dedication and therefore lost the title of the artist which after analysis and scanning and close looking it was fine it was found that the name was marcus gertz um the elder um and you can locate the picture because we have up here in the upper left um the tower of london so this believe it or not is a scene from the south bank of um a wedding a sort of almost like country wedding of um sort of peasants dancing in the foreground and this procession here on the left coming from a church and possibly a self-portrait just of this man here leaning against the tree looking back at the viewer with a very direct gaze if you look very closely and this has been compared to images of marcus and it seems comparable to his likeness which is very exciting there is a print i've seen which looks very light doesn't it yeah um and it is also therefore linked to this other picture which has you've bought yes to join as a pair which is um of a village festival um and so now you have two um festival fate um sort of probably based around marriage processions so perhaps we'd better have a quick look at this one now you've mentioned it the other one so whereas the fate can be clearly positioned um opposite the tower of london across the river this one looks like it might have been based on a more generic countryside scene it sort of has throwback to bruegel's art of country peasants reveling and enjoying themselves with some rather kind of worn down country buildings and often a church nearby it's likely that this was done by the marcus gerhart's workshop a little bit later than the fate but it nonetheless has many very similar tropes and patents that we can see repeated in terms of a few people's positions and little little motifs and details that are recurring which is quite fun you can see he was partial to certain images if you look at all these different um costumes that you can tell what part of northern europe they come from so there is another message in here as well and he obviously very much enjoyed painting kitchens with spits and fire and you can see the same pies there as you see in there a different kind of wedding cake to the one we're familiar with but a wedding cake nonetheless holding up um different sprigs of herbs which all had symbolization that was linked to a marriage ceremony but you're right about the costumes and it seems that there was um a link the artist had seen images of european different national national costumes by lucas de gea and there exists drawings and there are some very very close um costumes to these drawings and in this picture there was clearly yes clearly some understanding of the different dress um but you can see there's much variety there's extremely fancy dress and also very um sort of informal more peasant outfits um but everyone's enjoying themselves all in the same place um before we leave this room there are a couple of other things perhaps we could talk about yep um that horse there um i always thought that um he looked very like a horse in the in the reichs museum um by um was there a great animal painter called again yes and i got a letter from a phd student a few years ago saying well of course the guy never came to england so it couldn't possibly be by him so all the original um inventories but he said he did come to england this chap discovered and he came in 1594. so i said well interesting do um do keep digging and let me know yes well i mean exciting by tradition um and some people say that this is you know the white horse of elizabeth the first other people say that burley kept horses and it was a particularly prized horse of his that he wanted to memorialize in portraiture and it's a particularly good early example of a beautiful grey um the only other thing perhaps worth i mean there are a number of other things here which um perhaps need entertain us is the four napoleonic flags um which these are reproductions rare ones are upstairs but wellington conducted all his campaigns in the hatfield hunt coat um and he sent his friend salisbury four flags from paris after the battle of waterloo and these were the master four of the mustering flags in the chard may they mustered the army which was defeated at waterloo by the pastor and these are for the pathmark flags right well that's the marble hall let's go upstairs king james drawing room um i suppose the staircase is the one of the glories of the house it's rather showpiece early cantilevers not not perhaps as engineeringly as solid as it should be so we large numbers of people have to hug the inside and we've just a few years ago put in this red color um the tapestries are sort of brussels-ish 17th century 1680s and they're part of a much bigger set about 40 or 50 of them wow i mean they really are a lot and um so we hang them on there and then there are various artifacts here partly booty from on-demand and partly presents to prime minister salisbury from south sea islanders and uh we're in the process of learning a bit more about those artifacts apparently rather beautiful and some dog gates stop the dogs running up the stairs stop the dogs running upstairs that's a a lot of the pictures here have been moved around because we're by way of celebrating this year the 500th anniversary of the great lord burley's birth so we move some pictures to make part of an exhibition as the house isn't open because of the virus um we've left it there and we hope that we'll do it next year but that's a a double picture i think put together the two old boys father and son with their ones of office um and uh presumably after both of them were dead do you suppose yes it seems to be the sort of combining of two established portraits doesn't it and they're all they're tilted towards each other yes um as if a pendant portrait right let's go upstairs if i go on the right will i fall through the stairs yeah you went i don't think i think you can bear your weight that'll be a dramatic ending now then open the door well we call this king james's drawing room which was i suppose the main reception room of the house when it was built it was built in a hurry so you see there are slight failings in its design and there's a sort of the line of root it's a bit awkward yeah which i suppose reflects the hurry but it's obviously always been a very grand room anyway i perhaps the star attraction here is is this picture here which yes um i think is in the middle of being reattributed isn't it yes i think so i don't think any firm name has been put on it yet it's been thought to be by nicholas hilliard who is possibly better known as a miniaturist although he did do full scale works but it in many ways doesn't really look like a hillyard and given that we have the date which is on the sword of 1585 and george gower was sergeant painter from 1581 it's most likely that this is is a gower although there are other contenders so um that's as much as we can say about the artist but we can certainly say a lot about the picture itself which is extremely exciting and a nice balance to the rainbow portrait that we just looked at it is of course in comparison much darker the rainbow portrait is bright orange and bright because she's trying to be the sun and there's a rainbow this one is a real contrast a monochrome of sort of black and white um to accentuate firstly the urmin after which the picture is named which was the urman fur was only to be worn by royalty and the the high nobility and this is because in the winter irman would shed and become this beautiful white animal that was said to rather die than soil its fur and they have wonderful little black tips on the on the tail although this one seems to have little black tips all over it so i think the artist didn't quite understand the concept of hermann um but this is in reference to her elizabeth's purity of course she is also completely decked in pearls another sign of her purity and chastity um and of course having the black and the white um not only enhances the white the purity of the white also shows off that she's wearing a deep deep black which was the most expensive color to have you have to have many dyes to create a deep black so only very rich people would wear deep black in their portraits and of course it sets off the gold the gold of her hair and the enormous amount of gold leaf which is put on this sword of state sign of her justice of her rule and decorating beautiful rosette sort of daisies scattered all over her gown and of course in her headdress too really beautiful and i i suppose if it's all about her downstairs this is seems to me always to be much more about the institution of monarchy itself yes and that's perhaps reflected by the rather more formal and icon-like nature of the picture do you think yes i think it's about her this is about her governing and her justice and she's she's also holding um it's it's very dark green so it's not so clear until you look closely at the picture but she's holding an olive branch which is obviously a reference to peace so we we not only have the purity and chastity we also have peace and we have the otherwise you know violent um image of a sword but it's laid down her hands aren't on it it's beautiful and gold um and that is a sign of of justice and and and correct rule um and she's looking very somber um the face is quite mask-like almost and this is a reflection of how um as with many royal portraits um they couldn't sit every time for every portrait so what they had was what's called a pattern or a template and the artist would honestly just pick up the drawing pattern and use it as almost like a tracing to create their new portrait of the queen who was sort of ageless in her portraits she doesn't she didn't like um uh wrinkles being painted on her nose it weakened it weakened her strength as a monarch it's rather ironical too the symbol of peace in her right hand uh when you think 1585 is three years before the spanish armada absolutely and two years before the execution of mary queen of scots when she tried to persuade burleigh to have a quietly put away due process of law and badly said sorry now do process gotta have a trial however bias the trial may be due process has got to be followed so there are sort of ironical overtones here yes and i was always told that this extraordinary jewel here was called the three brothers it is yes is that right and belonged i think to the dukes of burgundy and i have a feeling was sold bought by the old gangster called guilford uh he was interesting too i suppose his nod connection because he bought hatfield from henry viii and then sold it on to princess elizabeth there is a sort of overlap embodied in that jewel but and another thing to say about the jewel and the jewels plural also on the other portraits is that what you're actually seeing the pearls are easy to identify the rubies are enormously easy to identify but what people often don't realize is that the black jewels are diamonds because at this stage diamonds are valued for their lustre and richness and rather than their sparkle as they are today so they will as you see be cut in squares and rectangles and diamonds um in very shallow low flat facets um rather than cotton and many so that they would reflect light and they were set on dark foil so that you'd have a black backing to the clear diamond and so these enormous things are actually diamonds um and but the pearls are more expensive than diamonds at this time because they were obviously um all not manufactured these pearls or freshwater pearls and enormous ones at that so that is why she has more pearls and diamonds and that's why the diamonds are black i had no idea about that very interesting very interesting the remainder of this room as i said it was the main reception room of the house and of course these very elaborate fireplaces which you see all over the house were by a man called maximilian cult who you know all about and of course in your main reception room you put her suitably grand statue of your boss king james king james the first and sixth uh and there he is well um there are all sorts of things we can talk about here but perhaps times come for us go to the long gallery i think so here we are in emily in the in the long gallery it's um longest run in the house rather self-evidently originally i think it was three rooms there were two smaller rooms at each end and at the end of the 18th century they opened them up which i think made these rooms slightly lighter and the ceiling is original but lord salisbury of the early 19th century paid a visit to venice and um he saw a gold ceiling there and thought this is a bit of bling i'd rather like so he came back and covered his own ceiling with gold leaf and we've just finished restoring it um and i think our restorers did a great job actually it was beginning to look a bit a bit tired oh it looks brilliant and they've done a terrific job and it was a place of course where particularly it was raining we've always been interested in politics and it's where you conspired and walked up and down and whispered and you could see whether there was anybody listening all that so it was quite an important operational space yes there if you imagined we might go down to the end of it and we can have a look at a couple other things as well so um if you think that the house was rarely built to entertain the king and um apart from the apartment of the builder of the house the owner of the house which is on that side that was the king's wing that was the queen's wing and there was a small apartment here for henry prince wales who was the hope of the stuart course died after catching cold after a game of tennis when he was 18 years old in 1612 which altered perhaps the course of british history but it was converted then into an extension of the long gallery and there are various artifacts in it um that's what's traditionally thought to be in charles first cradle there's absolutely no documentary whatsoever to support that but it's a family legend and that was a present uh to his lord chamberlain in the late 18th century by george iii which was a chair used made and used by queen anne in her coronation she was so fat that she had to take a rest on her way up the westminster rabbit for um before she sat in king edward's chair but i think she must have been too fat for that too anyway it's been here since the late 18th century rather splendid baroque piece right a chair and then if you if you were slightly doubtful about how much your husband and his friends drank after dinner after you've left the room as lady salisbury you wanted to be able to make sure they were behaving themselves so you could look down from here um the the tradition in this family is that these were queen elizabeth's stockings gloves and garden hat there's no documentary evidence for this whatsoever just family tradition and i think the experts would contend that although the gloves and the and the stockings were probably roughly contemporary uh the hat itself was more likely to be 18th century so i'm all for debunking family received wisdom if one possibly can but anybody who has a different view with my flight to hear it well um from the profane to the sacred i think um we'll go we'll go and have a look at the chapel shall we emily yes we'll do it from above yeah the chapel was consecrated i think a little bit later than the house was built a couple of years later about 1614 i think from the records and the top half was pretty well as built and to me quite interesting because i don't think even old burly would have got away with anything this elaborates in those rather more puritan days do you yeah no so maybe the beginning of armenianism and i think there is some some evidence to suggest that lord was at one point as a very young man part of the household okay so that might explain a bit perhaps more higher church absolutely um but there was this sort of journeyman painter who did a lot of decorating around here who's responsible for the decoration a man called roland bucket not perhaps most distinguished of artists and he also responsible for these these rather curious um what do you think pre caravaggios yeah sub sub sub and and the roundels are all around the top of this yes viewing gallery i think actually for an english painter of the time this was top-notch stuff it might not have been what was being achieved by netherlandish painters but in terms of um the english artistic output he was up there which i suppose is why he got such an extensive commission and the great glory of course are the windows which are um date of the house i think they've distinguished about three different hands there but uh they survived both the single civil war when they were taken out and buried and the second world war when there was a huge pile of sandbags when this house was a hospital um so we were lucky and survived you know fire that and the fire you're quite right well of course the dowager of the day in 1835 came in from hunting she was blind and um she took a groom with her who told her when to jump so she was quite a numero and it said that she knocked over a candle in her room and she and her maid were burnt and the whole of the house this wing of the house was gutted and it stopped at the chapel which of course the victorians thought was a great miracle but actually what happened was that there were some lead water tanks up in the roof which melted in the heat put the fire out and stopped it just there and if you're going to the west wing there it's very victorian that's where we're going to make some new book rooms over the next few years but it's quite interesting too because you can date oliver twist if you remember from the final chapters of oliver twist bill sykes on his journey north helps put out the fire at hatfield and dickens was one of the reporters sent down to report on the fire that's amazing so there's a rather nice connection so this is what we call the winter dining room and it was originally two rooms and part of the henry the prince of wales apartment and they made it into one room in the 18th century and then obviously mike around the 19th moved that fireplace from next door and they also made a room into two rooms into one and these tapestries um there's a greyable argument at the moment about where they were made they were traditionally by ray sheldon of warwickshire yeah but there is a theory now they're made in london mort lake possibly pre-malt lake anyway they're about 16 10 day to the house and they were made for the tracy family in gloucestershire who went bust in the 18 in the 19th century and um my ancestor bought them which was a great buy wow um and um the ladies upstairs had great restoration ladies spent 17 years repairing them they did a terrific job well they're very precious things and also tapestries used to be and you know still are incredibly expensive because you know it took a lot of manpower a lot of material a lot of time a lot of space to create things like this and you had to have the design it's not just a drawing you then had to actually make the thing and they often sewed in with precious materials too like silver gold or gold thread so in themselves they were so much more expensive than paintings were and they also were more likely to decorate big rooms like this in historic houses nowadays we think pictures all you know all covering the walls but actually then more tapestries more hangings and fewer pictures well that was true here certainly and there were great sets of tapestries you know commissioned for this house by the builder of this guys and he had special much grander ones for the king's visit which were taken down afterwards yes so but i suppose in terms of banks feel back you've covered more water yes and also in terms of warmth and draft they were sort of very practical as well as aesthetically beautiful and you've got a a lot of bang for your buck in terms of wall coverage um and so if you if you were cunning and got yourself a very good set that will that will sort you out you could still hang pictures on them as you have done downstairs and i think people don't realize that nowadays that it wasn't that unusual to hang a picture on a fabric today yeah yeah so this was originally two rooms it's obviously now the main library of the house and they made it into one room in the 18th century and then again match it around in the 19th another maximilian coat fireplace uh with a venetian mosaic version of a standard picture of the builder of this house thomas wooden was ambassador to venice and he sent him a picture which thomas wooden copied or had copies by the venetian venetian mosaicists and we sometimes use this for when the house is open to the public um we use some of these cases for exhibitions and um of course the great treasure of this house is the archive and to a lesser extent the books and uh some years ago we digitized the first 30 000 elizabethan documents and we've got a long way to go but to give you an example of the sort of thing uh perhaps the most dramatic example these many tens of thousands of documents is the first draft of the execution warrant of mary queen of scots so emily it's there it is wow and um he was like the great late lord bridges who was always said to be able to dictate a government white paper and you never needed to alter a jot or a title of it after he dictated it burley was that sort of bureaucrat and he very rarely needed to rewrite what he'd written but you can tell the strain that he was under in this tremendous crisis of the reign and having to persuade the queen to sign the execution warrant if you remember the royal trades union you didn't kill each other they might do it to you so you can see he tried various drafts and scrubbed it out and altered it and it conveys the emotion i think very much um there is another i think a second draft of this in the lambeth palace library but i think this is the first one so many crossings out yeah so it speaks volumes i think and of course he thought after the explosion after he bounced the queen into uh signing it and as soon as she signed it he made sure that the thing was carried out before she changed her mind she exploded and she he wouldn't talk to him for months so he thought oh that's the end of my career and he was very anxious about it but um she forgave in the end poor mr secretary davidson had to carry the can and go to the tower um it's a sad sad affair was but i think real politic made it essential that she should die but it was interesting of course that she said well why don't you just get him killed quietly but uh he was a due process man no you've got to have a proper trial however biased it might be he insisted on that and so it's interesting really if you think about his use of parliament his insistence on the rule of law all this rather anticipated um 1688 and all that and he he and his son very much i think encapsulated the need for the practice of those things being close to the document and the ink and the hand that wrote it yes exactly and i suppose the only other thing in these groups that might be worth just particularly because of its relevance to today what happens when you have an independent scotland and immediately an independent scotland links up with france uh in the old alliance so if you're burly what you have to do is you have to make sure that person who runs scotland is your man and you feed him with english gold and you use your encrypted your encryption masters to send him instructions in code accompanying the gold and you get the queen to sign it so this is some instructions from burley to regent murray in scotland wow uh look at that code well it's it has been decoded we've got it downstairs so it took quite a bit of doing no i bet i wonder if um they did it themselves or they got someone to do it for them well they he had a master did you ever read a book um called the watchers no by stephen alford i strongly recommend it it's wonderful it's about the burley waltzingham sky network and this extraordinary system sophisticated system of of spies and single agents double agents triple agents and steve norford unravels it with extraordinary skill it's remarkable and this is an example of the sort of skull dagger you need to indulge in yeah it's amazing so if mrs sturgeon gets her way then we'll see that sort of thing happen again i'm sure [Laughter] secret door to secret door it's the ultimate putting something in the wrong place this but it's good when you get there so well you've seen this before this is um the great magus is john dee's contribution to legitimizing queen elizabeth first um and he of course was an alumnus of st john's college cambridge which was really rather like the french inner today you tended to be if you were part of the new protestant settlement the new humanists uh you tended to come from there burley was there roger asham was there all these people were there including the magus john d and he did his bit to um show that queen elizabeth must be a great queen because she was descended from anybody who was anybody and this is her pedigree back to adam um and if you were to believe john d she was descended from anybody who's anybody plato aristotle of the hun the generations of the bible the caesars the whole boiling lot wow uh and it's 22 yards long length of cricket pitch i was going to say whoever could fit on the paper but i sound like they extended the paper to fit the people all the way back to adam so now we're going to look at the chinese emperor's present um and then perhaps the finish with the organ do you think emily sounds good yes should we do that um what past walk past wellington by wilkie uh which i think was in the 1831 royal academy show yeah and george iii with hatfield house in the background yes because he came for the review of the militia during the 1800 invasion scout you know there were lots of invasion scares the french were going to come in anyway and he left his picture behind here we go there we are wow well this is a a chinese pleasure palace which was i think a present from the kian long emperor to george iii and the sorcery of the day was lord chamberlain and whenever george iii cleared up i'd do zach he said anything here you'd like and this was one of the things apparently four men struggled with it bringing it down from london they didn't want to shake it about too much on a cart and we had the chinese ambassador here three or four years ago he got really over excited about this and he said looked at it he said poem on either side of door upside down so you've moved it so we on his advice yes that's good we can read it properly now apparently are you good at chinese yes very good yes here we are the main event and here we are the organ i think it is alleged that the man who made this organ was a dutchman called the han in in the first decade of the of the 17th century um and i think our friend rhoden bucket was also responsible for the decoration yeah the groceries exactly so you would recognize this style and the great narrow amanda restored it for my father in i think the 1970s and his line if i remember right was that there was great revolution in oregon technology in the latter half of the latter part of the 17th century so i think the works in here are late 17th century early because they put them back in and then of course driven by electric power now and we're very lucky that people are interested in it come and play it so it's used as it will be of course this this particular week which is very exciting so i think that's a bit of a skip through um the house and um bits and pieces and thank you emily so much thank you very much for coming and for pleasure you

Channel: Hatfield House Chamber Music Festival

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Id: MaO39-SGJv4

Length: 44min 28sec (2668 seconds)

Published: Mon Oct 05 2020