Programme

-G. F. Handel: Rinaldo HWV7b
premiere – 6 Aprile 1731 , King’s Theatre Haymarket, London

Libretto di Giacomo Rossi and Aaron hill dalla Gerusalemme liberata di Torquato Tasso

RINALDO – Logan Lopez Gonzalez
ALMIRENA – Francesca Martini
GOFFREDO – Marco Angioloni
ARMIDA – Caitlin Golding
ARGANTE – Martin Karu

Stage Design – Natalie Coury

ISTANTE COLLECTIVE
violins – Beatrice Scaldini & May Robertson || viola – Sam Kennedy || cello – Martyna Jakowska || double bass – John Henry Baker || oboe/recorder – Nicola Barbagli || bassoon/recorder – Inga Maria Klaucke || theorbo/guitar – Leo Brunet || harpsichord – Matthew Brown

Storyteller- WIlf Matterns

Programme

-J. S. Bach: Brandeburg concerto n.4 BWV1049 (allegro || andante || presto)
-A. Vivaldi: Concerto for two cellos, string and continuo in g minor RV513 (allegro || adagio || allegro)

-interval-

-G. Ph. Telemann: ‘Die Ist der Gotteskinder Last’ cantata TWV 1:356
-J. S. Bach: ‘Ihr werdet weinen und heulen’ cantata BWV103

soprano – Theano Papadaki
alto – Jessica Gillingwater
tenor – Richard Robbins
bass – Robert Garland
LITURINA
violin – Gabriella Jones || recorder – Iain Hall || cello – Sam Ng || harpsichord – Domininka Maszczyska
ISTANTE COLLECTIVE
violins – Beatrice Scaldini & May Robertson || viola – Stefanie Heichelheim || cello – Alex Rolton || double bass – John-Henry Baker || theorbo – Johan Lofving || guitar/theorbo – Leo Brunet || oboe/recorder – Nicola Barbagli || oboe – Grace Scott Deuchar || bassoon – Inga Maria Klaucke

Programme

-Overture from Orchestral Suite TWV 55:e1
-Concerto a 4 in a minor for recorder, violin, oboe and continuo TWV 43:a3 (adagio || allegro || adagio || vivace)
-Concerto for flute, violin strings and continuo TWV 52:e3 (allegro || presto || adagio || allegro)
-Trio Sonata in F major for recorder, gamba and continuo TWV 43:F3 (vivace || mesto || allegro)
–Paris Quartet no.1 TWV 43:G1 (grave || allegro || largo || presto || largo || allegro)

LITURINA
recorder – Iain Hall || violin – Gabriella Jones & Clara Mezzanatto || cello – Sam Ng || harpsichord – Domininka Maszczyska || viola – Thomas Kettle || theorbo – Johan Lofving || oboe – Nicola Barbagli || doublebass – John-Henry Baker

Programme

-F. Schubert (arr. J. Brahms): Ellen Zweiter Gesang D838
-J. Haydn: from ‘Alfred, König der Angelsachsen’ – aria of the Guardian Spirit
-L. van Beethoven: Quintet for piano and wind instruments op.16

-interval-

-W. A. Mozart: 4 Notturni, arranged for soprano and Harmonie K436-439
-W. A. Mozart: Piano Concerto in A K488, arranged for piano and Harmonie

soprano – KATE SEMMENS
fortepiano – STEVEN DEVINE

BOXWOOD & BRASS
oboe – Nicola Barbagli || clarinets – Emily Worthington & Fiona Mitchell || horns – Peter Moutoussis & Nivanthi Karunaratne || bassoons – Robert Percival & Mathew Dart

Programme

-W. A. Mozart: Allegro assai*
-W. A. Mozart: “Madamina, il catologo è questo” from ‘Don Giovanni’ K527
-W. A. Mozart: Menuetto*
-W. A. Mozart: “Son reo l’error confesso” from Mitridate Re di Ponto K87
-W. A. Mozart: “Bella fiamma, addio” K528

-interval-

-W. A. Mozart: Andante*
-W. A. Mozart: “Il core vi dono” duet from ‘Così fan tutte’ K588
-F. J. Haydn: “Ah tu non senti… qual destra omicida” Hob. XXIVb:10
-W. A. Mozart: Rondò*
-W. A. Mozart: Coronation Mass K371 – Benedictus & Agnus Dei

*’Nennerl Septet’ Divertimento K251 for oboe, 2 horns, 2 violins, viola & basso

ISTANTE COLLECTIVE
soprano – Hilary Cronin || alto – Aurore Lacabe || tenor – Marco Angioloni || baritone – Peter Brooke || violins – Gabriella Jones, Beatrice Scaldini & Christiane Eidsten Dahl || viola – Fran Gilbert || cello – Alex Rolton || doublebass – Owen Nicolaou || traverso – Eva Caballero || oboe – Nicola Barbagli || horns – Peter Moutoussis & Dave Horwich

Programme

-K. Stamitz: rondò from quartet op.8 n.4
-G. Druschetzky: Quartet in g minor on the name of B.A.C.H. (adagio-allegro || andante (on B.A.C.H.’s name) || allegro)

-interval-

-L. van Beethoven: Septet op.20 (adagio-allegro con brio || adagio cantabile || tempo di minuetto || team e variazioni-andante || scherzo-allegro molto e vivace || andante con moto e alla marcia-presto)

ISTANTE COLLECTIVE
violins – Christiane Eidsten Dahl & Beatrice Scaldini || viola – Nichola Blackey || cello – Carina Drury || doublebass – John-Henry Baker || oboe – Nicola Barbagli || horn – Dave Horwich || clarinet – Katherine Spencer || bassoon – Zoe Shelving

Programme

-J. S. Bach: Solo cello suite G major BWV 1007
-J. S. Bach: C minor prelude and fugue BWV 847*
-J. S. Bach: Organ Trio Sonata BWV 529*
-J. S. Bach: A major prelude and fugue BWV 864*
-J. S. Bach: Trio Sonata BWV 1038
-Jonny Mansfield: ‘1038’ (premiere!)
-J. S. Bach: Trio Sonata BWV 1039

*arranged by Liturina

LITURINA
recorder – Iain Hall || violin – Gabriella Jones || cello – Sam Ng || harpsichord – Dominika Maszczyska

Programme

-W. A. Mozart: Adagio, Allegro molto and Allegro vivace from Divertimento in D K131
-L. A. Lebrun: Oboe concerto n.4 in B flat (Allegro || Adagio || Rondò-allegro)

-interval-

-J. Haydn: Symphony HOB: I – n.31 ‘The Horn Signal” (Allegro || Adagio || Minuetto trio || Finale: theme-moderato molto, Var I-oboe, Var II-cello, Var III-flute, Var IV-horns, Var V-violin, Var VI-tutti, Var VII-violone, Presto-tutti)

ISTANTE COLLECTIVE
violins – Gabriella Jones, Yaoré Talibart, Jo Lawrence, Christiane Eidsten Dahl & Rebecca Harris || violas – Emma Alter & Geoff Irwin || cello – Alex Rolton || doublebass/violone – John-Henry Baker || flutes – Eva Caballero & Mafalda Ramos || oboes – Nicola Barbagli & Gail Hennessy || horns – Peter Moutoussis, Dave Horwich, Anna Drysdale & Samuel Middleton

Programme

-G. Ph. Telemann: Overture and Harlequinade from Suite TWV55:D15
-G Ph. Telemann: Concerto for 3 oboes, 3 violins & continuo TWV44:43 (allegro || largo || allegro)
-J. S. Bach: Concerto for oboe, violin, strings & continuo BWV 1060r (allegro || andante || allegro)

-interval-

-J. S. Bach: “O Holder Tag” Cantata BWV 210

-G. Ph. Telemann: Rondeau and Hornpipes from Overture in B flat TWV55:B10

ISTANTE COLLECTIVE
soprano – Emy Carson || violins – Gabriella Jones, Yaoré Talibart & Rebecca Harris || viola – Hannah Gardiner || cello – Alex Rolton || duoblebass – John-Henry Baker || traverso – Eva Caballero || oboe/oboe d’amore – Nicola Barbagli || oboes – Joel Raymond & Geoff Coates || bassoon – Inga Maria Klaucke || harpsichord – Dominika Maszczyska || organ – Matthew Brown

Programme

-W. A. Mozart: Musical Joke K 522 (allegro || minuetto maestoso || presto)
-L. van Beethoven: Sextet Op.81b (allegro con brio || adagio || rondò-allegro)
-F. J. Haydn: Divertimento in F, Hob.II:20 (allegro molto || minuetto/trio || adagio || minuetto/trio || finale – presto)

The Occasional Music Club was founded by a group of friends, all professionals musicians, active in the Historically Informed Performance movement, who wanted to explore the rich vein of chamber music for winds and strings from the Classical era. Meeting occasionally, as the name suggests, to play through these pieces for fun, the group decided that these rarely performed pieces deserve public airing. Mozart’s Musical Joke is a piece which will be familiar to many given its use as TV theme music, but Beethoven Sextet, featuring virtuosic writing for the horns, is rarely performed. The Haydn Divertimento is, likewise, one of those pieces which never gets performed due to its unusual combination of instruments, but which is typical of the great Classical master.

The Occasional Music Club
violins – John Crockatt & Guy Button || violas – Fran Gilbert & Joanne Miller || cello – Hugh Mackay || violone – John-Henry Baker || oboes – Leo Duarte & Nicola Barbagli || horns – Ursula Paludan Monberg & John Pratt

Programme

-H. Purcell: Hornpipe & Rondeau from ‘The Fairy Queen” Z.629
-A. Vivaldi: “Vedrò con mio diletto” aria from ‘Il Giustino’ RV 717
-P. D. Philidor: Musette from Quatrieme Suite Op.1
-F. Couperin: Musette from Troisieme Concert Royaux
-N. Chedeville (attr. A. Vivaldi, op.13): Sonata n.4 in A major from ‘Il Pastor Fido’ (largo || allegro || pastorale || allegro)

-interval-

-J. S. Bach: Oboe concerto in G minor BWV 1056R (allegro || largo || allegro)
-H. Purcell: Two in one upon a ground from ‘Dioclesian’ Z.627
-H. Purcell: ‘Mad Bess of Bedlam’ Z.370
-H. Purcell: Chaconne for Chinese man and woman, from ‘The Fairy Queen” Z.629
-G. F. Handel: “L’aura che spira” Sesto’s aria from ‘Giulio Cesare’ HWV 17

We are often used to seeing a musical piece as a “piece of art” created by the incredible imagination fo a genius composer of the past, where the music simply descended on their minds and onto the paper. This is sometimes the case. But what is maybe less obvious is that those composers were getting their inspiration from different sources. Sometimes “copyright free” folk tunes & street ballads, and sometimes simply the musical form derived from the folk or cultural heritage. At the time, this was not seen in a bad light.
However, once ‘professional’ printing met musical manuscripts, music started to circulate wider, good musical ideas started to become more accessible, sometimes they carried commercial success and sometimes they ended up with someone far away from the place they were first composed. And here is where our stories collected in this program begin! A ‘mistaken’ Vivaldi score, a score which Bach never wrote, and idyllic countryside where bagpipes were politely tuned and theatres where full of romance, disagreements and everything in between!

ISTANTE COLLECTIVE
mezzo-soprano – Emily Gray || violins – Yaorè Talibart & Jo Lawrence || viola – Stefanie Heichelheim || cello/gamba – Nathan Giorgetti || double bass/basse de violin – John-Henry Baker || oboe/recorder – Nicola Barbagli || harpsichord/organ: Sean Heath

Programme

-H. Purcell: four pieces from theatre music: Cibell – Rondeau minuet – Air – Rondeau from Abdelazer
-Claudio Monteverdi: “Si dolce è’l tormento”
-Improvisation on a ground: Chaconne & Tarantella
-John Bennet: madrigal “Weep, O Mine Eyes”
-J. H. Schmelzer: Sonata a otto, due cori

-interval-

-H. Purcell: Movements from Ode for St. Cecilia’s Day (The Fife and all the Harmony of War – The Airy Violin – In Vain the Amorous Flute – Wondrous Machine)
-Improvisation on a tune at the audience’s request (in 7 styles)
-J. S. Bach: Jesu Joy of Man’s Desiring

David Gordon – Harpsichord & Direction
HIGH WIRE BAROQUE
violins – Jenny Bliss-Bennet & Nina Kumin || viola: Jo Lawrence || cello – Timothy Kremer || doublebass – Malcom Creese || traverso/recorders: Daniel Swani || oboe/recorders: Nicola Barbagli || bassoon: Andy Wats || trumpets: Andy Woodward || percussion – Isaac Harari

Programme

-L. Biccherini: Overture in D major op.43
-L. A. Lebrun: Oboe concerto n.6 in F (allegro || adagio graziono || rondò-allegro)

-interval-

-F. J. Haydn: Symphony in A n.64 ” tempora mutantur” Hob. I/64 (allegro con spirito || largo || menuetto e trio: allegretto || fianle: presto)

Without the printing press, Haydn would have not been famous, Lebrun’s virtuosic oboe concerti would have likely been lost forever, Boccherini and Pleyel might have been better friends, but at least Michael Haydn would have been indifferent – he never bothered to publish his music. Join us to find out more about these stories on this musical journey!

ISTANTE COLLECTIVE
1st violins – Michael Guverich, Oliver Cave, Sophia Prodanova & Maggie Faultless || 2nd violins – Beatrice Scaldini, Julia Black & Ellen Bundy || violas – Joanne Miller & Emma Alter || cello – Alex Rolton || doublebass – John-Henry Baker || flutes – Eva Caballero & Yu-Wei Hu || oboes – Nicola Barbagli & Geoff Coates || horns – Peter Moutoussis & Kate Goldsmith

Programme

-G. B. Lully: Chaconne from ‘Phaeton’ & Petit Air pur le mesmes & Marche pour le cerimonie de Turcs
-J. S. Bach: Concerto in D major BWV 972 (arr. after A. Vivaldi RV 230) (allegro || adagio || allegro)
-A. Vivaldi: Oboe concerto in D minor RV 454 (allegro || largo || allegro)

-interval-

-J. S. Bach ‘coffee cantata’ BWV 211
-J. Mattheson – Chaconne from finale of ‘Boris Goudenow’ , Hamburg 1710

ISTANTE COLLECTIVE
soprano – Hilary Cronin || tenor – Richard Jobbins || baritone – Philip Wilcox || traverso – Flavia Hirte || oboe/recorders – Nicola Barbagli || bassoon – Inga Maria Klaucke || violins – Beatrice Scaldini & Christiane Eidsten Dahl || viola – Joanne Miller || cello – Alex Rolton || doublebass – John-Henry Baker || theorbo/baroque guitar – Johan Lofving || harpsichord/cantata director – Sean Heath

Programme

A musical trip through the English Court

Introduction:
-M. Praetorius: from “Terpsichore”: allemande || canarios
-J. Dowland: ‘Can she excuse my wrongs‘ from the “First Booke of Songes or Ayres” (1597)
-from “The Dancing Master” by J. Playford: Greensleaves || Pudding Pies
-J. Dowland: ‘Flow, my tears‘ from “The Second Booke of Songs or Ayres” (1600)
-D. Philidor: from Suite op.1 no.4 in A minor (Sicilianne || Paysienne)

At church

-H. Purcell: ‘An Evening Hymn’ Z 193
(words by William Fuller)

At the Theatre

-H. Purcell: from “King Arthur” Z.628 – Hornpipe
-H. Purcell: from “The Fairy Queen” Z.629 – ‘If love’s a sweet passion’
-M. Locke: from “Incidental music for Shakespeare’s The Tempest”: ‘The fourth Act Tune: A Martial Jigge’

At Tea Time

-Tarditional Air: Skye Boat Song (lyrics by Harold Boulton)
-F. Barsanti: from “A Collection of old Scotch Tunes” – ‘Lochaber’
-G. F. Handel: German Aria no.6 HWV 207

On the street

-Traditional / Vikers: Hornpipe

ISTANTE COLLECTIVE
Kate Semmens – soprano || Nicola Barbagli – oboe, recorders & accordion || Johan Löfving – theorbo & baroque guitar || John-Henry Baker – bass violin, percussions

Programme

-J. S. Bach: Cantata BWV 98 ‘Was Gott tut das ist Wohlgetan’

1.Choral
2.Recitativ (tenor)
3.Aria (soprano)
4.Recitativ (alto)
5. Aria (bass)

-interval-

-J. Haydn: Stabat Mater HobXX: a1

BENEDICT WILLIAMS – Conductor (Bach
JOHN ANDREWS – Conductor (Haydn)

HILARY CRONIN – soprano
EMILY GRAY – alto
ED WOODHOUSE – tenor
PETER BROOKE – bass

ISTANTE COLLECTIVE
oboes – Nicola Barbagli & MArk Baigent || violins – Gabriella Jones, Simone Pirri, Julia Black, Jo Lawrence & Salomè Rateau || viola – Joanne Miller || cello – Miriam Nohl || double bass – John-Henry Baker || bassoon – Inga Maria Klaucke || harpsichord – Sean Heath || organ – Benedict Williams

MINERVA CONSORT
sopranos – Clare Arthrs, Eleanor Franzen, Eleanor Rashid, Isla Stanger || altos – Susan Andrews, Rachel Keeling, Sally Shorthose || tenors – Ian Cheung, Ben Cox || basses – Matthias Nicholls, Robin Osterley

Programme

-Frederic Hartmann Graf: Quintet for flute, oboe, violin, horn and cello in D (allegro)
-Ignaz von Beecke: Quintet for flute, oboe, violin, viola and cello (un poco adagio || rondò || allegretto)
-Ludwig August Lebrun: Trio for oboe, violin and cello op.3 n.3 in B flat (adagio || allegretto)
-Michael Haydn: Divertimento for flute, violin, viola, horn and double bass (marcia || allegro spiritoso || andante || menuetto-allegretto || finale-presto)

ISTANTE COLLECTIVE
traverso – Rosie Bowker || oboe – Nicola Barbagli || violin – Salomè Rateau || viola – Julia Black || cello – Kate Conway || horn – Daniel De Souza || double bass – John-Henry Baker

Programme

‘On the street’
-Giorgio Mainerio – Michael Praetorius (Ballet || spagnoletta || l’arboscello ballo furlano || putta nera ballo furlano || la parma || ungaresca || schiarazula marazula || volte in d || volte a 5 || la Canarie)

‘In San Marco’
-Andrea Gabrieli: Intonation on the second tone – Ricercare on the second note
-Claudio Merulo: Echo pour le trompette

‘In the Palazzo Ducale’
-H. Purcell: Two upon a ground
-A. Vivaldi: Sonata op.1 n.12 “La Follia”

-interval-

‘At the café in Piazza San Marco’
-Tomaso Albinoni: Concerto for oboe, strings and continuo op.9 n.2 (allegro ma non presto || adagio || allegro)
-Antonio Vivaldi: Concerto for flute, strings and continuo “Il Gardellino” (allegro || largo || allegro)

Emily Naylor – Narrator
Alessandra Palidda – Musicologist

ISTANTE COLLECTIVE
traverso – Eva Caballero || oboe – Nicola Barbagli || violins – Salomè Rateau & Hetty Wyne || viola – Heather Bourne || cello – Camilla Morse-Glover || theorbo – Johan Löfving || double bass – John-Henry Baker || orgna/harpsichord – Sean Heath

Programme

-Arcangelo Corelli: Sonata op.5 n.8 (Preludio/Largo || alemanna/allegro || sarabanda/largo || giga/allegro)
-Giuseppe Agus: Sonata op.1 n.1 (largo allegro assai || andante)
-Giuseppe Agus: Sonata op.1 n.4 (andantino grazioso || allegro maestoso || minuè)
-Michele Mascitti: Sonata op.9 n.6 (andante || allegro || largo et affettuoso || alegro moderato)
-Michele Mascitti: Sonata op.8 n.5 (andante || allegro || largo || corrente/allegro || gavotta/allegro)

QUARTETTO VANVITELLI
Gian Andrea Guerra – violin
Nicola Brovelli – cello
Mauro Pinciaroli – archlute
Luigi Accardo – harpsichord

Programme

-Nicola Porpora: Sinfonia da camera op.2 n.6 in B flat (adagio || affettuoso || allegro)
-Giuseppe Sammartini: Concerto for recorder, strings and continuo in F (allegro || siciliano || allegro assai)
-Francesco Geminiani: Solo in E minor for oboe and continuo (adagio || allegro || largo || vivace)
-Pietro Castrucci: Concerto grosso op.3 n.4 in a minor (adagio andantino || allegro ardito || adagio un poco andante || allegro spiritoso)

QUARTETTO VANVITELLI
violin – Gian Andrea Guerra
cello – Nicola Brovelli
archlute – Mauro Pinciaroli
harpsichord – Luigi Accardo

ISTANTE COLLECTIVE
recorder – Olwen Foulkes || oboe – Nicola Barbagli || violins – Dominika Feher, Salomè Rateau & Conor Gricmanis || viola – Julia Black || cello – Kate Conway || double bass – John-Henry Baker || organ – Sean Heath

Programme

-L. Boccherini: Quintet in g minor op.19 n.3 (allegro || minuetto)
-F. A. Hoffmeister: Divertimento in D per viola d’amore, oboe, 2 violins and bass (allegro || minuet || allegro rondò)
-W. A. Mozart: “A see in ciel benigne stelle” concert aria for oboe and strings K 538
-G. Rossini: Serenata per piccolo complesso da camera for flute, oboe, cor anglais, 2 violins, viola, cello and double bass (largo || team e variazioni)

ISTANTE COLLECTIVE
traverso – Eva Caballero || oboe – Nicola Barbagli || cor anglais – Leo Duarte || violin – Gian Andrea Guerra, Salomè Rateau, Julia Black & Abel Balazs || violas/viola d’amore – Emma Alter & Joanna Miller || cello – Nathan Giorgetti || double bass – John-Henry Baker

Programme

-F. J. Haydn: Symphony n.22 in E flat major “The Philosopher” (adagio || presto || minuetto || presto)

-F. J. Haydn: Symphony n.59 in A major “The Fire” (presto|| andante|| minuetto || allegro assai)

Conductor – JOEL SANDERSON

ISTANTE COLLECTIVE
violins – Gabriella Jones, Gian Andrea Guerra, Salomè Rateau, Julia Black, Abel Balazs, Sarah Bealby Wright, Hetty Wyene & Ellen Bundy || violas – Emma Alter & Joanna Miller || cellos – Nathan Giorgetti & Nicola Brovelli || double bass – John-Henry Baker || oboes/cor anglais- Nicola Barbagli & Leo Duarte || horns – Anna Drysdale & Nivanthi Karunaratne || bassoon – Inga Maria Klaucke || harpsichord – Sean Heath

Programme

-Rachel Bell: Argos Inn
-Trad.: Koylyn
-Trad.: Flavia’s tune – Jigs & Rodoulum

-G. Ph. Telemann: quartet in G major from Tafelmusick (largo)
-J. Ch. Bach: Rondò
-F. D. Philidor: con spirito & fugue from ‘L’art de la modulation’
-B. Bartok: Hungarian Dances

-Trad.: Blakan set
-Trad.: Scots Lament & London Loyality
-P. Hutchinson: Butt Lane Tarantella
-Trad.: Djunjuritsa
-A. Sinclair: Ally’s Tune (the dancing poet loosing his shoes)

WILLINGDON HOUSE MUSIC
flute & traverso – Flavia Hirte
oboe, recorders & accordion – Nicola Barbagli
violin – Ellen Bundy
clarinet & bass clarinet – Max Mausen

Programme

-B. Britten: Pan
-R. de Viseè: Allemande

-F. Couperin: Concert Royaux n.4 in E minor (Prelude || allemande || courante franchise || courante a l’italienne || sarabande || riguadon || forlane)

-C. Debussy: Syrinx

-M. Ravel: “Tombeau de Couperin” arranged for the ensemble by Trevor Wagler (Prelude || Forlane || Menuet || Riguadon || Toccata)

-F. Couperin: Forlane

ISTANTE COLLECTIVE
flute/traverso – Flavia Hirte
oboes – Nicola Barbagli
clarinet – Max Mausen
modern violin – Maria Fiore Mazzarini
baroque violin – Ellen Bundy
cello – Josh Salter
viola da gamba – Kate Conway
piano- Chad Vidin
harpsichord – Sean Heath
theorbo – Johan Löfving

Programme

-J. S. Bach: Sinfonia from Cantata BWV 42
-K. H. Graun: Concerto in D for horn, oboe d’amore & continuo (adagio || allegro || largo || minuet)
-G. Ph. Telemann: Concerto in E major for traverso, oboe d’amore & viola d’amore TWV 53:E1 (anadante || allegro || sarabanda || vivace) [*soloists: see below]

-interval-

“The Miserable life of Johann Heermann”
a story by Wilf Merttens

-J. S. Bach: Cantata BWV 89 “Was soll ich dir machen. Ephraim” (aria (bass) || récit (alto) || aria (alto) || récit (soprano) || aria (soprano) || chorla)

Soprano: ANGELA HICKS
Alto: EMILY GRAY
Tenor: ED WOODHOUSE
Bass: TRISTAN HUMBLETON
Conductor: BENEDICT WILLIAMS

Storyteller: WILF MARTTENS

ISTANTE COLLECTIVE
traverso – Flavia Hirte || oboes – Nicola Barbagli & Joel Raymond || violins – Gabriella Jones, Simone Pirri, Ellen Bundy* & Salonmè Rateau || viola – Heather Bourne || cellos: Josh Salter & Sam Ng || double bass – John-Henry Baker || bassoon – Hayley Pullen || horn – Anneke Scott || harpsichord – Sean Heath || organ – Benedict Williams

Programme

Pre-concert talk – Dr. Alessandra Palidda (5.45 pm & 8 pm)

-L. van Beethoven: Octet Op.103
-A. Salieri: “La ra la” Dori’s aria from ‘La grotta di Trofonio’
-A. Salieri: “Non v’ho già che vi suonano” Lisotta’s aria from ‘La cifra’
-V. Righini: “Ombra dolente alceo” from ‘Il Natal d’Apollo’
-F. J. Haydn: “Deh soccorri un infelice” Celia’s aria from ‘La fedeltà premiata’
-F. J. Haydn: Symphony in F sharp minor “Farewell” Hob I:45 (allegro assai || adagio || minuetto e trio || finale: presto)

EMILY GRAY – Mezzo Soprano

ISTANTE COLLECTIVE
oboes – Nicola Barbagli & Mark Beigiant || clarinets – Emily Worthington & Fiona Mitchell || horns – Dave Horwich & Daniel De Souza || bassoons – Robert Percival & Hayley Pullen || violins 1 – Sophia Prodanova, Christiane Eidsten Dahl & Joanna Lawrence || violins 2 – Claudia Norz, Julia Black & Gabi Maas || viola – Jam Orrel || cello – Camilla Morse Glover || double bass – John-Henry Baker

Rameau’s Castor et Pollux, perhaps his greatest opera, was the work for which he was most esteemed in his life-time. The Opera Company, Istante Collective and The Rameau Project are joining forces for a year-long project – Castor et Pollux: Rising Stars. As well as giving the UK premiere of Jonathan Williams’ new edition of the original 1737 version of Castor et Pollux (the first edition in modern times), the Rising Stars Project will provide rare and much-needed opportunities for fine young singers to perform this extraordinary repertoire. Thank you for joining us on the start of our journey!

Programme

-Jean Philippe Rameau: ‘Castor et Pollux’ tragédie en musique, first performed on 24th October 1737

Act I
-“Tristes apprêts” – Télaïre
-Marche (des Athlètes et des Combattants). Grave et Fier
-Troisième Air (des Spartiates et des Guerriers). Très Gai

Act II
-Descente de Jupiter. Majesteusement
-Entrée d’Hébé et de suite (des Plaisirs célestes) Gracieux
-Air gracieux pour Hébé est ses suivantes
-Dieuxième Air (Sarabande) pour Hébé est ses suivantes
-Air “Voici des dieux” – Un Plaisir

Act III
-Premier et Deuxième Airs des Monstres et des Démons. Vivement

Act IV
-Air “Séjour de l’éternelle paix” – Castor
-Air pour les Ombres heureuses
-Gavotte gaie
-Air “Sur les ombres figutives” – Une Ombre
-Premier at Deuxième Passapieds

Act V
-Tonnerre “Qu’ai-je entendu!“ – Telaïre. Vite
-Air “Mais, le bruit cesse…” – Castor
-Descente de Jupiter. Lent et gracieux

-Chaconne

HILARY CRONIN – Soprano
XAVIER HETHERINGTON – Tenor

JONATHAN WILLIAMS – Conductor
GUIDO MARTIN-BRANDIS – Director

ISTANTE COLLECTIVE
violins – Sarah Bealby-Wright & Henrietta Wayne || violas – Emma Alter & Joanne Miller || cello – Kate Conway || bass – John-Henry Baker || flutes – Eva Caballero & Marta Goncalves || oboes – Nicola Barbagli & Oonagh Lee || bassoon – Hayley Pullen || harpsichord – Sean Heath

Programme

First Concert: 6 pm

Pre concert Talk by Dr. Alessandra Palidda (5.45 pm)

-J. D. Zelenka: Triosonata n.1 in F major
-H. Purcell: 3 Parts upon a Ground Z.731
-J. Ph. Telemann: Overture-suite TWV 55:D21 (Overture || Plainte || Rejouissance || Carillon || Tintamare || Loure || Menuet)

Second concert: 8.15 pm

-H. Purcell: 3 Parts upon a Ground Z.731
-A conversation between Alessandra Palidda (Oxford Brookes University) and Ewan King (Heath Street Bptist Church)
-J. S. Bach: Cantata ‘Ach, lieben Christen, seid getrost’ BWV 114

PETER WHELAN – Conductor & Harpsichord
Soprano – CHRISTINE BURAS
Alto – JESS DANDY
Tenor: AIDEN COBURN
Bass: PETER BROOKE

ISTANTE COLLECTIVE
traverso – Eva Caballero || oboes – Nicola Barbagli & James Eastway || horns – Daniel de Souza & Dave Horwich || bassoon – Hayley Pullen || violins – Ellen Bundy, Christiane Eidsten Dahl & Claudia Norz || viola – Alexis Bennet || cello – Carina Drury || double bass – Rosie Moon || chamber organ – Sean Heath

According to our 2019 theme – “fine lines” – we are trying to find a balance between Michael Haydn’s humoristic-music-writing and his daughter’s death; between Mozart’s playfully wind writing (in the concertante Parisian “style”) and the academic debate around the authenticity of his composition.
Michael Haydn’s Requiem was probably his biggest hit and it remained very popular after his death – Mozart definitely knew it and remembered it when he started composing his own Requiem. Michael officially composed it for the funeral of the archbishop of Salzburg in January 1772, however we have reason to believe it was inspired by the death of his own daughter a year earlier.
As is often the case with Michael Haydn, the orchestration is quite peculiar – there are no violas, but there are trumpets, trombones, timpani and continuo. There are nine movements and the soloists appear in seven of them, usaully interspersed among the choral writing – which is extensive – according to the editor Charles Sherman, the “first product of Haydn’s full maturity”.
We still don’t know if Mozart ever wrote his Sinfonia Concertante. We have evidence to suggest he was in Paris in April 1778 and he was planning to write something for Le Gros’ Concert Spirituales. At the same time four of Mozart’s long-standing friends from Mannheim were in Paris (Wendling – flute, Ramm – oboe, Ritter – bassoon, Punto – horn).
The absence of the manuscript has led scholars to rely on the score. The authenticity of this score has been disputed to the point that scholars considered its credibility highly doubtful. In the score, the flute and oboe parts are replaced respectively by the oboe and the clarinet.
In a letter on the 1st May in 1778 Mozart wrote: “Four days ago I gave the symphony to Le Gors, so he can give it to the copyst but I saw it always in the same place. The other day I didn’t see it, I looked for it in between all the scores on the table and I found it that it was hidden… I mention to Le Gors about the symphony and he answered that he just forgot to have copied it. … I think that the problem is Cambini, an Italian master who is here and who, unintentionally, I overshadowed during my first encounter with Le Gros”.
To have the full sensory experience tonight we recommend you accompany the concert with a classic digestif-dessert from Michael’s mother, Maria Haydn, available to purchase from Julia’s Apothecary bar in the foyer.

Progremme

-W. A. Mozart: Sinfonia concertante K. 297b for oboe, clarinet, horn, bassoon and orchestra (Allegro || Adagio || Andante con variazioni)
-M. Haydn: a little chamber surprise 🙂

-interval-

-M. Haydn: Requiem in C minor MH 155 “Missa pro defuncto Archiepiscopo Sigismundo” for soli, mixed chorus and orchestra

1.Requiem aeternam – Adagio, C minor
2.Sequentia Dies irae – Andante maestoso, C minor
3.Offertorium Domine Jesu Christe
– “Rex gloriae”, Andante moderato, G minor
-“Quam olim Abrahae”, Vivace, G minor
-“Hostias et preces” Andante, G minor
-“Quam olim Abrahae”, Vivace e più Allegro, G minor
4.Sanctus – Andante, C minor
-“Benedictus qui venit…”, Allegretto, E-flat major
5.Agnus Dei et Communio
-“Agnus Dei, qui tollis peccata mundi”, Adagio con moto, C minor
-“Cum sanctis tuis”, Allegretto, C minor
-“Requiem aeternam”, Adagio, C minor
-“Cum sanctis tuis”, Allegretto, C minor

JOHN ANDREWS – CONDUCTOR

ISTANTE COLLECTIVE
Soloist (Sinfonia concertante)
Nicola Barbagli – oboe
Emily Worthington – clarinet
Dave Horwich – horn
Inga Maria Klaucke – bassoon

violins – Rachel Stroud, Ada Witczyk, Joanna Lawrence, Jenna Sherry, Salomé Rateau, Sophie Simpson & Ed Taylor || violas – Cecile Ross & Joanna Patrick || cellos – Gavin Kibble & Kate Conway || double basses – Rosie Moon & John-Henry Baker || organ – William Whitehead || oboes – Oonagh Lee & Mark Radcliffe || horns – Daniel De Souza & Anna Drysdale || trumpets – Peter Mankarious & Chris Parsons || timpani – Elsa Bradley

MINERVA CONSORT
Susan Andrews, Mike Attwood, Alex Brett, Peter Brooke (solo), Sally Burlington, Tom Chippendale, Eleanor Franzén (solo), John Graham, Ethan Hockley-Webster, Andrew Horn, Rachel Keeling, Thalie Knights (solo), Alex Pidgen (solo), Eleanor Rashid (solo), Christophe Rhodes, Isla Stanger (solo), David Toynbee

Programme

-J. S. Bach: Cantata “Du Hirte Israel, hoere” BWV 104

-J. D. Zelenka: Triosonata n.1 in F Major for two oboes, bassoon and continuo ZWV 181

-G. Ph. Telemann: Quartet for flute, violin, viola da gamba and basso continuo in E minor TWV 43:e4 “Paris Quartet” n.12 (rearranged by Patrick Ayrton)

-J.-B. Lully: Suite from Phaeton

PATRICK AYRTON – Conductor and harpsichord

SYLVIE GALLANT – Soprano
AURORE LACABE – Alto
DAVID DE WINTER – Tenor
PETER BROOKE – Bass

ISTANTE COLLECTIVE
violins – Louise Ayrton, Salomé Rateau & Elise Dupont || violas – Sam Kennedy & Cecile Ross || cello – Kate Conway || gamba – Alice Trocellier || oboes – Nicola BArbagli & Bethan White || bassoon – Inga Maria Klaucke || double bass & percussion – John-Henry Baker || theorbo – Sergio Bucheli

Programme

-J. D. Zelenka: Triosonata n.4 in G minor for two oboes, bassoon and continuo ZWV 181

-J. D. Zelenka: Triosonata n.3 in B flat Major for oboe, violin, bassoon and continuo ZWV 181

-J. D. Zelenka: Triosonata n.6 in C minor for two oboes, bassoon and continuo ZWV 181

ISTANTE COLLECTIVE
oboes – Nicola Barbagli, Oonagh Lee, Joel Raymond & James Eastaway || basson – Giovanni Battista Graziadio || violin – Mark Seow || harpsichord – Satoko Doi-Luck || double basses – John-Henry Baker & Giuseppe Ciraso Calì

Programme

Beginning of the journey with ISTANTE
from south

-Trad.: Tarantella
-N. Mateis: Aria Melanconica
-M. Praetorius: Suite of dances from Terpsichore (Ballet || 2 Voltes || Spagnoletta || Canarios || 2 Bourres)
-Trad.: Bourreè Francaise
-R. Bell: Argos Inn
-‘Come Ashore Jolly Tar’
-F. Barsanti / H. Playford Suite (Lord Aboyne’s welcome || Lilliburlero || Clout the Caldron)
-H. Purcell: Hornpipe from “King Arthur”
-J. Blow: “In these sweet groves”
-M. Locke: “A Martial Jigge”

-interval-

A pit stop: Music & Medicine with ROYAL BAROQUE

-J.-B. Lully: Chaconne from “L’amour médecin” (Dr. Cupid) LWV 29
-F. Couperin: “La Convalescente” (Gravement || Vivement || Gravement et marque || Legerement || Rondement || Vivement)
-J. J. Froberger: Tombeau fait à Paris sur la mort de Monsieur Blancrocher
-E. V. Gaultier: Prelude and Chaconne “La Cascade”
-M. Marais: Allemande “L’Asthmatique”, from the 4th book of the Pièces de viole
-M. Marais: Le tableau de l’Opération de la Taille: Les Relevailles
-J. D. Zelenka: Hypochondrie ZWV 187

Finale

ISTANTE COLLECTIVE
-J. S. Bach: Courante and Bourre
-Trad.: Polonaises
-from Vikers: Horpipers

ISTANTE COLLECTIVE & ROYAL BAROQUE
-from Sexdrega: Polonaise in A major

ISTANTE COLLECTIVE
Nicola Barbagli – oboe/recorder/accordion || John-Henry Baker – double bass || Cherry Forbes – oboe || Joanna Lawrence – violin || Andrew Watts – bassoon || Richard Tuncliff – mandolin
ROYAL BAROQUE
Christiane Eidsten Dahl – violin || Kate Conway – cello/gamba || Katarzyna Kowalik – harpsichord || Kaisa Pulkkinen – baroque harp || Rebecca Vučetić – recorder || Jadran Duncumb – theorbo

Cimarosa’s travels: Naples to St. Petersburg , through France , Germany, Poland… and back, in 4 years! His opera buffa, the ‘Feminine Wiles’, premiered at Naples’s Teatro de Fiorentini in 1794 with a Russian folk ball as its happy ending… Domenico Cimarosa’s musical eyes can still tell us many hidden love stories from all over Europe.

SERIO & FACETO
Nicola Barbagli – Accordion
Irene Biancalani – Voce

Beer, Bratwurst & Bach Programme

We like to think that as a father to twenty children, J.S. Bach would have appreciated a good BBQ, and that he would have invited a few mates, perhaps even a couple of serious German composers so they could complain about Brexit and the uncertain times ahead.
Bach’s Second Suite is a collection of common baroque dances which gives special attention to the traverso – the baroque flute. Bach’s Brandenburg Concerto No. 5 features the violin, harpsichord and traverso again, with an exuberant harpsichord cadenza, half-way through. Zelenka came from a small Bohemian town outside of Prague and was a bit of an outsider. He played double bass, never married or had children. His music was in some ways stylistically similar to Bach’s but he was better known for his unconventional harmonic surprises, contrapuntal harmonies and his use of Czech folk music. In other words, he was the long lost uncle at the BBQ.
Telemann got so excited about burgers that he wrote a dance suite after his favorite combo – the Hamburger Ebb’ und Fluth…we’re not quite sure if that includes blue stilton or smoked applewood, but it will probably be a bit sloppy. The dance suite is, however, quite the opposite, taking us along on mischievous adventures of aquatically-inclined Greek deities, inviting everyone to join ‘Die lustigen Boots Leute’ ~ the merry boat people.

-J. D. Zelenka: Hypocondrie a 7 Concertanti ZWV 187 (grave || allegro – fuga || lentement)
-J. S. Bach: Orchestral Suite No. 2 in B minor, BWV 1067 (Overture || rondeou || sarabande || bourrée || polonaise || menuet || bandinerie)
-J. S. Bach: Brandeburg Concert n.5 BWV 1050 (allegro || affettuoso || allegro)
-G. Ph. Telemann: Overture from “Hamburger Ebb’ und Fluth” (Wassermusik) TWV 55:C3

ISTANTE COLLECTIVE
violins – Beatrice Scaldini & Victoria Melik || viola – Alexis Bennet || cello – Kate Conway || double bass – John-Henry Baker || harpsichord – Masumi Yamamoto || flute – Eva Caballero || recorder – Laszlo Rozsa || oboes – Nicola Barbagli (also 2nd recorder) & Bethan White || bassoon – Hayley Pullen

Gilad Atzmond and the Amphion Ensemble Programme

Theorbo, viola da gamba, and saxophone meet where the expressive harmonies of French baroque composer Marin Marais are foil to exhilarating jazz improvisation. The hypnotic bass lines of Henry Purcell blend with the arabesques of Middle Eastern music, and Bach and the Blues all mix together in an alchemical evening that promises to move and thrill audiences while defying categories of place and time.

AMPHION ENSEMBLE & GILAD ATZMOND

A Taste of the Extravagant Programme

-G. F. Handel: Concerto Grosso Op.3 No.4 HWV 315 (Andante-allegro || Andante || Allegro)

This concerto is really an opera overture, taken by the publisher Walsh wholesale from the curtain-raiser to Handel’s opera Amadigi di Gaula (1715): a ‘magic’ tale of knight-errantry in which the King of Gaul, educated in Scotland, marries Oriana, daughter of the King of England

-A. Vivaldi: Concerto in C major, Op.4 No.7, La Stravaganza, RV 185 (Largo || Allegro (molto) || Largo || Allegro)

The “extravagance” of these hugely popular concertos, published around 1715, is comparatively subtle. In this work it is about his approach to modulation and use of melodic intervals. Listen out in the second Largo for an unstable cycle of modulations and a bold ‘enharmonic’ shift – a repeated D sharp in the bass becomes an E flat and the basis of a new chord

-W. Hayes: Overture from the Masque “Circe” (1742) (Largo || Allegro)

Hayes was Professor of Music at Oxford and instrumental in building the Holywell Music Room, the first purpose-built concert hall in Europe. ‘The Fall of Jericho’, ‘The Passions’ and The Thirsty Vampires’ give an idea of the range of texts he set, but traces of the English pastoral have clearly crept into this version of Circe story

-G. Ph. Telemann: Concerto for Recorder and Transverse Flute TWV 52:e1 (Largo || Allegro || Largo || Presto)

The only known baroque concerto to combine the two forms of flute not only highlights Telemann’s skill in combining instrumental colour, put to particularly exquisite use in the second Largo, but also his extravagant cultivation of the ‘Polish’ taste (the folk dance in the last movement)

BELSIZE BAROQUE
violins – Kate Agostino (leader), Nick Hardisty, Ada Witczyk & Sally Heath || violas – Jane MacSween & Elizabeth Hart || cello – Mark Walkem || double bass – Harry Buckoke || oboes – Susan Cooksley & Hannah Blumsohn || bassoon – Hilary Ougham || flute – Richard Austen || recorder – Julie Dean || harpsichord – Norman MacSween

Fran and Flora + Tsvey Kipperim Programme

Klezmer, Roma and Balkan music meet two new and exciting young duos; Fran & Flora and Tsvey Kipperim. Rising stars of the Klezmer and Balkan scenes, Francesca Ter-Berg (cello), Flora Curzon (fiddle), Dan Gouly (clarinet) and Josh Middleton (accordion), combine their passion for the traditional, the improvised and the absurd together in this new collaboration to share and perform their favourite tunes.
The programme will include a deep exploration of traditional music from Eastern Europe. Each player, having travelled extensively, learned from iconic masters, including Tcha Limberger, Dr Alan Bern, Frank London, Ross Daly and Peter Ralchev, to name a few. The four members bring together elements of traditional Jewish, Balkan and Roma repertoire into their unique performance, adding to it their distinct arrangements which culminate in a collaborative twist.

War & Lament Programme

This concert by the Bellot Ensemble is a celebration of the creativity of the composers of the Baroque Period, to create programmatic instrumental music, vividly depicting everything from galloping horses to a war march. The programme includes selections from the lesser-known composer Carlo Farina, the slightly better-known Heinrich Biber, together withTelemann’s Burlesque de Don Quixotte

-C. Farina: Capriccio Stravagante [1626]

(Canzona || The hurdy-gurdy || The small shawm || Variations on the hurdy gurdy || Playing with the wood of the bow || Presto || Adagio || Trumpets || Clarino || Timpani || The hen and rooster || Presto || The tremulant (of the organ) || The soldiers’ fifes and drums || The cat || Adagio |||The dog || Allegro || Adagio || The Spanish guitar || Adagio)

-H. I. von Biber: Battalia a 10 in D major, C. 61 [1673] 

(I. Allegro: Sonata | II. Allegro: “Die liederliche Gesellschaft von allerey Humor” || III. Presto || IV. “Der Mars” || V. Presto || VI. Aria || VII. “Die Schlacht” || VIII. Adagio: “Lamento der Verwundten Musquetirer”)

-G. Ph. Telemann: “Burlesque de Don Quixotte” TWV 55:G10 [1739]

(1. Ouverture || 2. Le Réveil de Quichotte (The Awakening of Quixote) || 3. Son Attaque des Moulins à Vent (The Attack on the Windmills) || 4. Ses Soupirs Amoureux après la Princesse Dulcinée (Sighs of Love for Princess Dulcinea) || 5. Sanche Panse Berné (Sancho Panza Tossed in a Blanket) || 6. Le Galope de Rosinante (The Gallop of Rosinante) || 7. Celui d’Ane de Sanche (The Gallop of Sancho’s Donkey) || 8. Le Couché de Quichotte (Don Quixote’s Sleep)

BELLOT ENSEMBLE

Ballad and Dance Tunes (by Saraband and the Twisted Twenty) Programme

From the sonorities of Purcell and Corelli to the foot stomping melodies of Oswald and Anon, together with tear-jerking ballads and folk tales, this double-bill from Saraband and the Twisted Twenty takes the listener on a journey throught the popular music and tavern tunes of 17th/18th century Britain

-Trad. (arr. Peter Salem): Red House
-A. Corelli: Sonata no.2 op.3 in D major
-T. Baltzar: Division on a Ground
-H. Purcell: Sonata no.6 in G minor Z 807
-J, Eccles: Division on a Ground
-Cpt. T. Hume: Love’s farewell
-N. Matteis: Suite from ‘Aires in 3 parts (Saraband || Ostinatione || Giga al genio Turcesca)
-Trad. (arr. Peter Salem): Musical menu (The cook in a hurry || Buttered peas || New potatoes || Flitch of bacon)

SARABAND
(violins – Sarah Bealby-Wright & Henrietta Wayne || cello – Josh Salter)
THE TWISTED TWENTY

From Hamburg to London…via Bückeburg Programme

The cello enjoyed a huge surge in popularity in 18th century England, becoming the string instrument of choice for many a fashionable Londoner, eager to play the same instrument as several members of the Royal family.
The Brook Street Band’s programme showcases both the cello and the equally fashionable harpsichord, with an English and German programme of sonatas by Handel, Telemann, Geminiani and JFC Bach. “From Hamburg to London… via Bückeburg” explores the huge influence Italian repertoire had over the baroque cello sonata, from Telemann working in Hamburg and JFC Bach in Bückeburg, to Handel and Geminiani, both central to English music life.

-G. F. Handel: Cello sonata in G major, Op.1 No.7 HWV 365

-J. C. F. Bach: Cello sonata in G major WfX: 1

-F. Geminiani: Cello sonata in C major Op.5 No.3

-G. F. Handel: Cello sonata in d minor

-G. Ph. Telemann: Cello sonata in D major TWV 41:D6

BROOK STREET BAND

Harmony of Heaven Programme

J. S. Bach is perhaps best remembered as the Thomaskantor at the Thomaskirche in Leipzig. But with some of his best works written during his time there it’s easy to forget that he was actually only the third choice for the position. In this programme we explore the work of the other candidates, Telemann and Graupner, inviting the audience to consider what might have been without this extraordinary aligning of the stars.

-J. S. Bach: Widerstehe doch der Sunde BWV 54

-Ch. Graupner: Oboe d’amore concerto in C GWV 30

-G. Ph. Telemann: Hirt’ und Bischof uns’rer Seelen TWV 1:804B

-interval-

-G. Ph. Telemann: Liebe, die vom Himmel stammet TWV 1:1044

-Ch. Graupner: ‘Overture’ for viola d’amore in D GWV 426

-J. S. Bach: Vergnugte Ruh BWV 170

APOLLO BAROQUE CONSORT
violins – Katie Holmes & Charlotte Fairbairn || violas – Jordan Brown, Sam Kennedy & Helen Sanders-Hewett || cellos – Josh Salter & Anthony Albrecht || double bass – John-Henry Baker || theorbo – Richard Mackenzie || oboe – Nicola Barbagli || continuo – Joe Waggott

Retrogusto Barocco Programme

Fascinated modern composers have sought to recreate the baroque style and sounds in a plethora of clever and imaginative ways. Many, including the respected Eugène Ysaÿe, were obsessed by the baroque compositional techniques and sought to pay tribute to the great master composer, Bach, by imitating his style. Others looked to baroque music as a rich source of material to feed their need for virtuosity as represented in the Handel/Halvorsen Passacaglia. Teddy Bor was one composer who had great fun gleaning from one of the sacred pillars of the western music (Bach again!), taking a jazzy approach to rewriting Bach’s masterpieces. Finally, the composer, Klaus Huber, immensely inspired by the musicality and spirituality of Bach’s works, meditated on Bach’s music while also being influenced by the works of Purcell.

-J. Halvorsen / G. F. Handel: Passacaglia in G minor on a theme of G. F. Handel for violin & double bass

-E. Ysaÿe: Sonata n.2 in A minor “Jaqueline Thibaud” , op. 27/2 for solo violin

-Professor T. Bor: Bach at the double for two violins and double bass

-K. Huber: Ein Hauch von Unzeit (a breath of No-time) for solo double bass

GAMMA ENSEMBLE
The Gamma Ensemble is formed by former members of the Southbank Sinfonia, who have joined together to explore the connection between baroque and new music. In addition to their careers as chamber musicians, they actively work with numerous orchestras in the UK and abroa

Classical Curiosities Programme

Mozart operas and symphonies are as well-known as Boccherini symphonies and Haydn operas are forgotten.
On the title page of Boccherini’s Symphony in A Major, he wrote A piu strumenti obbligati which means every member of the ensemble will have a solo role at some point in the piece. This piece was most likely written for the magnificent orchestra of Duchess Benevente Ossuna in 1787. (Yes, she had her own private orchestra like all good aristocrats in those days.) Two years later on the other side of Europe, Haydn was about to put on a production of Cimarosa’s I due supposti Conti at the Esterhazy Opera Theatre. He was not totally convinced of this work or perhaps his beloved soprano wanted a better aria to sing so he composed Infelice sventurata, a rare gem, hardly performed nowadays. (Our friend, Alexis, went to the British Library to photocopy the only score available!)
Ten years earlier after a trip to Vienna the 18-year-old Mozart wrote his Symphony No. 29.
Mozart’s exceptional opera, Le Nozze di Figaro, is so complete and perfect, Haydn would not have wanted to change a thing and his beloved soprano would have very much liked to sing the aria, Dove sono i bei momenti.

-L. Boccherini: Sinfonia op.37 n.4
-J. Haydn: Aria “Infelice Sventurata” HOBXXIVb: 15
-W. A. Mozart: Countess Aria and recit ‘E Susanna non vien..Dove sono i bei momenti’ from “Le Nozze di Figaro” K. 492
-W. A. Mozart: Symphony n.29 K. 201

JOE SANDELSON – conductor

SUSAN JIWEY – soprano

ISTANTE COLLECTIVE
violins 1 – Jane Gordon, Beatrice Scaldini & Gabi Maas || violins 2 – Flora Curzon, Christiane Eidsten Dahl || violas – Dan Shilladay & Nichola Blakey || cello – Bianca Riesner || double bass – John-Henry Baker || flute – Flavia Hirte || oboes – Nicola Barbagli & Bethan White || bassoons – Giulia Breschi & Hayley Pullen || horns – Anna Drysdale & Dave Horwich

Telemann on Tour Programme

Telemann took off to Paris in 1730 and 1737 to visit a flautist, violinist and viola da gamba player (fairly good ones at that). He wrote some quartets for them to all play together, (Telemann played the harpsichord) and then published them in two sets: Quadri and Le Nouveaux Quatours. Paris was a melting pot of European influences and so theres a combination of styles and techniques from the continent.
As you can imagine the other quartet members wanted a piece of the action… Forqueray (the gamba player) was a bit of a virtuoso, so he wrote some really very very challenging music for the gamba – although most people were getting a bit bored of hearing the gamba, so probably didn’t get the recognition he might have before, though he certainly made his point.
The violinist, Guignol, was an Italian bloke and apparently the top player in France. “Number one” so they say. As you can imagine he was a bit of a show-off, judging by some of his ridiculously difficult compositions.
The flautist, Blavet, was less of an attention seeker and a bit more savvy – he spotted a gap in the market and wrote lot’s of flute music in easy keys to sell to the growing number of amateur flute players. He also composed four operas in his lifetime, three were lost (they’re probably hiding somewhere) ‘Le Jaloux Crorrigé’ is an early french comic opera.

-M. Blavet: Ouverture from ‘Le Jaloux corrigé’,
-G. Ph. Telemann: ‘Paris Quartet’ Nouveaux quatuor en six suites, Deuxième Quatuor TWV43:a2,
-J.-P. Guignon:  Violin Sonata op. 6 no. 1 in A major (Andante || Allegro non troppo)
-A. Forqueray: La Guignon, Cinquième Suite, Pièces de viole (published by Jean-Baptiste Forqueray)
-M. Blavet: Flute Sonata op. 2 no. 3 “La Dherouville”, (Adagio || Giga (Allegro)
-G. Ph. Telemann: ‘Paris Quartet’ Six Quadri, Sonata II, TWV43:g1 in G minor

ENSAMBLE MOLIERE
flute – Flavia Hirte
violin – Alice Earll
viola da gamba – Kate Conway
harpsichord – Satoko Doi-Luck

Baraque CEILIDH

ISTANTE COLLECTIVE
Alexis Bennet – Fiddle and Calling
Flora Curzon – Fiddle
Nicola Barbagli – Accordion
John-Henry Baker – Double bass and Percusssion

BeerBBQBach Programme

-J. S. Bach: brandeburg Concert n.1 in F major BWV 1046

-G. Ph. Telemann: Concerto for 4 violins in G major TWV 40:201 (Largo e staccato || adagio|| largo || vivace)

-G. Ph. Telemann: Concerto for 3 violins, 3 oboes & continuo in B flat major TWV 44:43 (allegro || largo || allegro)

-J. S. Bach: Cantata “Derr Herr Mein Getreuer Hirt” BWV 112

Susan Jinwey – Soprano
Jacopo Facchini – Alto
Gwylm Bowen – Tenor
Malachy Frame – Bass

ISTANTE COLLECTIVE directed by Maggie Faultless (violin) & Christopher Bucknall (harpsichord)

violins 1 – Maggie Faultless & Beatrice Scaldini || violins 2 – Claudia Norz & Flora Curzon || viola – Sam Kennedy || cello – Alex Rolton || double bass – John-Henry Baker || oboes – Nicola Barbagli, Jan Hutek & Cherry Forbes || bassoons – Hayley Pullen & Giulia Breschi || horns – Anneke Scott & Anna Drysdale || harpsichord – Christopher Bucknall

Couperin: An Exploration Programme


Comprised of students at the Royal Academy of Music, Les Laurentines was born out of a love of French 17th-century music. This programme explores François Couperin’s Leçons de Ténèbres, the composer’s profoundly personal work based on the Lamentations of Jeremiah. A contemporary response to these pieces will be presented in the premier performance of two works by composers R. Arcaro and R. Laidlow.

-F. Couperin: Deuxième Leçon & Troisième Leçon de Ténèbre

-Rafael Marino Arcaro: Psalm 102 (world premiere)

-Robert Laidlow: Moonfall (world premiere)

LES LAURENTINES
Victoire Bunel – Mezzo Soprano
Charlotte La Thrope – Soprano
Julie Pumir – Harpsichord
Alice Trocellier – Viola da Gamba

Cream Tea with Joseph & Wolfgang Programme

The Consone Quartet presents a programme of early Mozart and late Haydn. Written when he was just 17 years old, K.170 is one of Mozart’s earliest works for string quartet. By contrast, Haydn’s last set of string quartets – his Op. 77 – was composed as Beethoven was publishing his first in this genre.

-W. A. Mozart: String Quartet in C major, K.170

-J. Haydn: String Quartet in G major, Op.77, No.1, Hob.III:81

CONSONE QUARTET
Agata Daraškaite  – violin
Magdalena Loth-Hill – violin
Elitsa Bogdanova – viola
George Ross – cello

Schubert Octet Programme

We end the festival with Franz Schubert’s timeless and truly romantic masterpiece, his Octet in F Major. Schubert finished it in 1824 and regarded it a personal response to Beethoven’s hugely popular Septet in Eb Major which came twenty-three years earlier, of which Schubert was very fond. The commission is generously funded by philanthropist and amateur clarinettist Ferdinand Troyer. We are grateful to him and also to our anonymous donor whose extraordinary kindness has enabled this festival to take place.

-F. Schubert: Octet in F major D 803
1.Adagio – Allegro – Più allegro
2.Adagio
3.Allegro vivace – Trio – Allegro vivace
4.Andante – variations. Un poco più mosso – Più lento
5.Menuetto. Allegretto – Trio – Menuetto – Coda
6.Andante molto – Allegro – Andante molto – Allegro molto

ISTANTE COLLECTIVE
violin 1 – Christiane Eidsten Dahl || violin 2 – Claudia norz || viola – Dan Shilladay || cello – Carina Drury || double bass – John-Henry Baker || clarinet – Fiona Mitchell || bassoon – Hayley Pullen || horn – Dave Horwich