Tamesis Issue 246 November 2014
The Christmas workshop is coming up on Sunday 14th December and though I’ve
received a lot of bookings it’s a bit top heavy at the moment so please, tenors and
basses, send in your forms! There are a good number of instrumentalists but more
loud wind (not shawms!) and violins would be most welcome. Other instruments and
voices are not excluded (yet). Those of you who came to David Allinson’s Spanish
Christmas workshop a few years ago will know that this should be another festive and
musically satisfying day.
In January we have Hieronymus Praetorius for singers and instruments directed by
Patrick Allies at Ickenham. If you’re planning to come to that, please make sure you
read David King’s article on page 5 about the provision of music.
I went to see Haydn’s comic opera Life on the Moon at the Hackney Empire last
month. What a marvellous theatre it is, originally a Victorian music hall and now
restored to its former glory. You’ll have to travel outside our area to see the opera
now if you missed it there but it really is worth the effort. The plot by Goldoni is quite
silly but the music is absolutely beautiful, played by a period orchestra conducted
from the harpsichord by Christopher Bucknall.
Another performance not to be missed is Nine Daies Wonder. the story of William
Kemp who danced from London to Norwich in nine days, entertaining the crowds
along the way. The Society of Strange and Ancient Instruments are putting on an
extra performance at Christ Church Spitalfields on Wednesday 10th December, and
though it’s described on their website rather tamely as “dances, songs and
instrumental music from the Elizabethan court, towns and countryside”, it’s really
more like an Elizabethan pantomime, and very clever. Although I saw it at Aldeburgh
where it was originally developed I was seriously thinking of going to Brighton to see
it again, so I’m glad it’s turned up again nearer home. These two shows are quite a
change from the eleven Messiah’s which I’ve typed into the concert list. Do promoters
think that’s all we want to listen to at Christmas?
Christopher Bucknall, the conductor of Life on the Moon, is one of two new tutors at
the 2015 Baroque Week at Ardingly. He will work with singers, continuo players and
large groups. Oboe players will be delighted to know that the other is Leo Duarte who
plays oboe and recorder professionally with many period orchestras. I always go to
the baroque week and I’m delighted that it’s continuing. Over the years the pitch of
the week has gradually moved from 440 to 415 and finally it has been decided that
everyone must be equipped to play at 415, though 440 and 392 will also be available
when appropriate. The theme next year will be The Judgement of Paris. Four
composers – Eccles, Finger, Weldon and Daniel Purcell – composed operas on William
Congreve’s libretto for a competition in 1700, although Finger’s version is lost, and I
remember going to a marvellous performance of them at St John’s Smith Square a
few years ago. Peter Collier has retired from directing the week, though he will still
be there to sort out playing groups and bring and advise on his enormous music
library, but I’m glad to say that he has agreed to run another baroque chamber music
day for us in April. The date will almost certainly be Saturday 25th. We’ll confirm the
date as soon as possible on the TVEMF website www.tvemf.org.
I was sad to hear that Nick Pollock is moving to Wales at the end of the year. He has
been a valued member of the TVEMF Committee and a regular attender at our events,
so he will certainly be sorely missed – our good wishes go with him. Of course this
leaves a gap on the Committee and in any case we would welcome new members so
please consider putting yourself forward at the AGM at the Christmas event on the
14th of December.
I hope Nick will continue as a member, thus giving us two in Wales, one in the USA
and one in France as well as those in Yorkshire, Devon and other relatively distant
parts. We can thank our newsletter editor for providing such a good magazine that
people subscribe even if they can't get to many or indeed any events.
The Greenwich Early Music Exhibition is on 13th to the 15th of November and David
Butler would be glad to hear of anyone who is prepared to be on the stand for an hour
Sunday 14th December 2014 at 5.15 approx.
(after the Christmas workshop in Amersham)
1. Apologies for absence
2. Approval of the minutes of last meeting
3. Chairman's report
4. Secretary's report
5. Treasurer's report
6. Election of officers and committee
7. Any other business
Music for Patrick Allies Workshop on Hieronymus Praetorius,
17th January 2015
The application form for the Praetorius workshop gives singers (and instrumentalists
also wishing to sing) the option of printing out scores in advance and receiving a £2
reduction in the workshop fee. When I have received your completed forms I will
forward PDFs of the scores to you if you have indicated you wish to print them
yourselves. It will be extremely helpful if you can do your own printing and
furthermore it will make it easier for you to practice the music in advance. If possible
print the music double sided and insert it in a clip folder.
One of the works,’Tota pulchra es’, is in twelve parts consisting of three choirs of four
voices and since the complete vocal score is 26 pages long I will allocate singers to
specific choirs and will send you the PDF for your choir and also a PDF of the complete
score. If you print out the music for your choir only it will save you a lot of printing
and you may find the music easier to manage. On the other hand you may prefer to
see all the other parts and therefore wish to print out the whole score. The character
and ranges of the parts for each choir are very similar save for bass 3 that, unlike the
other bass parts, has many low Fs. If you are applying as a bass you might like to
indicate if you wish to sing this part and places will be filled on a first come first serve
Instrumental parts will be provided on the day and, as is stated on the application
form, instrumentalists who do not wish to sing for part of the time are eligible for the
£2 reduction and thus pay £10 if they are members of an early music forum or
The six works we will study are listed below. They are all available on CPDL but you
should only print out the PDFs I send you so you use the correct version where
several versions are available online and also because some of the scores have been
tidied up by David Fletcher to remove redundant information and ensure all alto parts
are in treble clef rather than treble octave clef.
Gaudete omnes: SSATTB
Tota pulchra es: SATB SATB SATB
Magnificat quinti toni: SSAT ATBarB
Wie lang O Gott: SATTB
Cantate Domino: SATB SATB
O vos omnes: SATTB
Cambridge liturgical weekend 2014
Following what must be presumed to have been a tolerably successful encounter with
Manchicourt and Guerrero in 2013, Edward Wickham kindly agreed to make St
Catharine’s available again and to direct this year’s event, which took place on the
weekend 19-21 September. The thirty-two singers, as was the case last year, were
mainly TVEMF members, and we were delighted to welcome our familiar friends from
Denmark, Finland and Holland once again.
This year’s programme again featured two highly regarded composers, Jacobus
Clemens non Papa (ca. 1510-15-1555 or 56) and Philippe Rogier, (1561-96), whose
music is less frequently performed nowadays than that of their contemporaries.
Clemens’ original name was the rather less grandiloquent Jacob Clement and there is
much speculation about his acquisition of the sobriquet “non Papa” which appears in
the edition of his works published by Susato, and its less well-known variants,
“Clemens haud Papa” and “Clemente nono Papa”. Whatever the truth of the matter, it
seems reasonable to discount the explanation in Wikipedia that its purpose was to
distinguish him from Pope Clement VII, since that cleric died in 1534.
Clemens, who held positions at Bruges, ‘s Hertogenbosch, Ypres and Leiden during his
relatively short life, was an extremely prolific composer, whom Allen W Atlas, in
Renaissance Music (Norton, 1998) describes, along with Gombert and Willaert, as one
of the three great motet composers of the second quarter of the sixteenth century.
233 of the 512 works attributed to him are motets, and his next most numerous type
of composition is represented in the collection of 150 psalm settings (the
souterliedekens or ‘little psalter songs’) for three voices, with vernacular texts and
melodies taken largely from German popular and folk songs, designed to provide
moral edification by being sung at home.
The work by Clemens which we performed was his Mass Ecce quam bonum based on
his four-part motet whose text is taken from Psalm 133 (Ecce quam bonum et quam
jucundum, habitare fratres in unum). Like all but one of Clemens’ fifteen masses (the
Missa Defunctorum) it is a parody mass; other composers whose chansons served as
bases for Clemens’ parody masses include Manchicourt, Gombert, Willaert and
Sermisy. The Mass is set for five voices except in the Sanctus and Agnus Dei where
the tenors are divided and sing in canon. This is one of the few examples of canonic
writing found in the works of Clemens and, according to the New Grove, one which
symbolises (in some unexplained manner) the idea habitare fratres in unum. If that is
correct, it may be that the writing of the canon in unison, rather than at the often
employed intervals of a fourth or a fifth, is a particularly emphatic demonstration of
the idea of dwelling together in unity. Under Edward’s calm and meticulous direction
we fairly soon became acquainted with the work, albeit with a certain amount of
coming and going as basses and tenors alternated (and at one point came together)
on the naughty step, and there were also brief experiments with scrambled singing
and surround sound.
Philippe Rogier was born in Arras and his musical career began in 1572 when he was
taken to Spain as a boy treble. He was ordained a priest and was granted various
benefices by Philip II, to whose court he was appointed vicemaestro di capella in 1584
and maestro on the death of Gerard de Hele in 1586. Some decades after his death,
the great Spanish writer Lope de Vega paid tribute to him in a poem describing him as
the ’honour, glory and light of Flanders’. In his short life he composed 243 works, of
which only 51 survive from the destruction by fire of the royal chapel at Madrid in
1734. The collection in the library of King John IV of Portugal was destroyed in the
Lisbon earthquake of 1788.
The work which we performed, and which provided a powerful finale to the service, at
which the Mass was sung liturgically without the Credo, was the six-part motet
(SSAATB) laboravi in gemitu, the text of which is Psalm 6 (Domine, ne in furore), v.6.
In the Roman Catholic liturgy the text is used at Compline on Mondays and in the
office for the dead at matins (Liber Usualis, 283, 1783). For your reviewer, the motet
evocatively portrays the emotional state of the narrator, with the plangent opening
section depicting the weariness of his groaning and the repeated melismata,
ascending in pitch and increasing in intensity, on ‘lavabo’ and ‘rigabo’ simulating the
flowing of the tears with which he nightly waters his bed.
Its authorship has long been the subject of controversy. Although it was included in
Lavern J. Wagner’s edition of eleven motets by Rogier (Recent Researches in the
Music of the Renaissance, vol. II, A-R editions, 1966), the controversy continued; see,
for instance, Peter Philips’ article ‘Laboravi in Gemitu: Morley or Rogier?’, Music and
Letters (1982) 63 (1-2), 85-90. Even today, it appears in the list of Morley’s sacred
music on CPDL, but how it came to be ascribed to him is unclear. The CPDL entry for
Rogier refers to it as “believed to be adapted by Morley based on a work by Rogier”.
However, we may note that neither in the extensive list of “Practitioners, the most
part of whose works we have diligently perused for finding the true use of the Moods”
at the end of Morley’s A Plain and Easy Introduction to Practical Music, nor in the main
text, is there any mention of Rogier.
For another socially and musically satisfying weekend, our sincere thanks go to
Edward for directing the event and to Neil for his organisation of the event including,
once again, the production of the music, embellished, as always, with the editorial
accidentals which give rise to the debates about whether they should be adopted or
rejected, without which no event of this nature can be complete. It is a pleasure and
a privilege to participate in an event such as this and we look forward to further
opportunities to sing in Cambridge.
Canons and Catches
TVEMF members enjoyed a stimulating, well-attended day at St James Church (W2
3UD) on 6th September. Our director was Justin Doyle, who chose a varied
programme of Canons and Catches by Lobo, Mouton, Palestrina, Byrd, Ravenscroft,
Purcell and others. Justin demonstrated the best choir-masterly skills and was always
alive to the expressive and performing possibilities of each piece. Right from the
outset, Justin had us on the move, placing us in facing choir stalls, semi-circular and
circular formations, quite different from the conventional four-part chorus, with
everyone rooted in the same position. One admired the way he gave out starting
notes with pin point accuracy, ranging from low bass G to high in his falsetto range,
up at least to soprano D on the 4th line of the treble clef, without recourse to the
piano. We basses will certainly remember his “w-W-O-U-O-W-w” demonstration, with
appropriately timed mouth opening, for producing rich, sonorous low Gs. Sopranos
will recall his striking image, only a trifle far-fetched, for producing a clear, beautiful
high D: “Imagine you are trying to pick up a drawing pin from the floor with a wet
flannel dipped in oil!”
The music included some real curiosities. William Byrd was represented by his Diliges
Dominum from Cantiones Sacrae, 1575. This is for two four-part ensembles, with the
secundus choir singing the same music as the primus choir, but backwards. For some
reason, we found this difficult, perhaps because our score was transposed up a minor
third to the less familiar key of A flat, or possibly because the structure of the piece
seemed to prohibit cadences and suspensions. Anyway, we ended up a semi-tone
flat. So, after re-distributing us in a huge circle around the whole church, he got us to
sing it again while perambulating around. Somebody said this reminded him of what
Lyndon Johnson said about Gerald Ford being unable to walk and chew gum at the
same time. But this must have freed us up because the piece sounded much better.
At this point, Justin may have felt that we were good enough to tackle something
more difficult. So he brought out a realisation by Philip Legge of a Deo Gratia by
Johannes Ockeghem, a 36 part Canon, arranged for 9 each of sopranos, altos, tenors
and bases. Besides 3/2 against 6/4 rhythms, the canon featured some (ferociously
difficult) syncopated hocketing in the alto parts. Perhaps we might have managed it if
we’d had enough altos, given that (unusually), we were light in that department. But
it certainly brought home to us that Ockeghem must have had many excellent singers
available to him.
Finally, we departed briefly from the early music agenda with a four-part catch “The
Girl that I Love” by Richard Crossland. This tells the story of a sleepless, unrequited
lover who doesn’t even know where his beloved lives or works, so he ends up “writing
letters that I know I never can deliver”. As you would expect in a good catch, “li-ver”
in Voice 4 is followed by “poolS” in Voice 2, “treat” in Voice 3 and “sta-tion” in Voice 1
producing “Liverpool Street Station” as the solution to our lover’s question. While the
music was easy, the busy words took us a couple of run-throughs to get right. But the
3rd performance was well-nigh perfect!
In his concluding remarks thanking Justin, David Fletcher summed up the workshop
by noting that, if people thought they were in for a dry-as-dust workshop on one of
the most academic of all musical forms, they were in for a big surprise.
The Monteverdi Influence
Drenching rain greeted the fifty-two singers who arrived at the Headington
Community Centre on 4 October for a musical experience whose content originated in
sunnier climes. The centre-piece of the programme was Monteverdi’s five-part
madrigal Ohime il bel viso and we had the great pleasure of being led through this and
the remainder of the programme by Robert Hollingworth, who provided us with an
inimitably characteristic display of erudition and entertainment. During the course of
the warm-up and general explanatory remarks, he subjected us to Wackiest Warm-Up
Exercise of the Year (which required us to imitate an English-speaking Italian going
into a shop to order toast and butter and marmalade), introduced us to Weird Concept
of the Year (the harmonics of Wow), appalled us with Execrable Pun of the Year, the
invention of which he disclaimed (the Dorian mode is not black or white, but Gray)
and regaled us with Rhyme of the Year, namely, that “Freuden” (which occurs in the
Schein piece, Die mit Tränen säen) rhymes with “Croydon”-a gift to anyone reviewing
a performance of the Ode to Joy at the Fairfield Hall.
Robert told us that although Ohime il bel viso was published in Monteverdi’s sixth
book of madrigals in 1614 (the “Hi, Venice, I’ve arrived” book, as he referred to it), it
was written in 1607, the year in which he composed Orfeo; that the text, a sonnet by
Petrarch, was the first which he wrote after hearing of the death of Laura, and that
while texts by Petrarch had often been set in the mid-sixteenth century, that had
ceased to be the case by about 1570, so Monteverdi’s use of this source of material
was a reversion to an earlier practice. Indeed, it appears from the list in the New
Grove that this was a rarity; he seems to have set only two other texts by Petrarch,
one of which, the duet Zeffiro torna, appears in the same book of madrigals. His
favourite sources of text included Torquato Tasso (1544-95; best known for his epic
poem La Gerusalemme Liberata, 1581) who wrote nine books of Rime between 1567
and 1593 in a style heavily influenced by Petrarch, and Giovanni Batista Guarini
(1538-1612), the writer of the Arcadian tragicomedy Il pastor fide, from which the
text of the madrigal by Schütz which we studied, Dunque addio, was taken.
Ohime il bel viso begins with a section lamenting the passing of the virtues of the
loved one; first and second sopranos alternately call the lower voices into action, the
tune being shared by the altos and tenors, which Robert mentioned as an example of
Monteverdi’s innovation of keeping two musical ideas in play at the same time. One
of the harmonic subtleties to which he drew our attention occurs at the end of the first
verse; at ed ogni huom vil, gagliardo, the base man is represented by an A minor
triad, but he is made noble in three successive major chords, the last being A major.
The loved one’s sweet smile is then hinted at by the tenors and the dart which
originates from it is impelled first by the basses, then by the altos, while the sopranos
continue to declaim the lament. A short and stately homophonic passage portrays the
worthiness of the regal soul, after which the lover depicts his own desolation as the
wind carries his words away from her, and this provides another example of
Monteverdi’s innovation; groups of voices interchange between the phrases Quand’io
parti dal sommo piacer vivo and di speranza m’empieste e de desire, which are being
sung at the same time.
Heinrich Schütz, born some twenty years after Monteverdi, had a similarly long life,
dying in Dresden in 1672. His musical career began as a choirboy at the court of the
Landgraf Moritz of Hessen-Kassel, and it was to him that he dedicated the book of
madrigals which he produced in 1611 while studying under Giovanni Gabrieli in
Venice. Although it is entitled Il primo libro de madrigali, no other book of madrigals
by him survives, and indeed the bulk of his work consists of sacred music set to
German texts. Schütz is one of many composers of madrigals with text from Il pastor
fido; Monteverdi composed no less than fourteen. The Monteverdi influence is
apparent in Schütz’s Dunque addio, which was the next item on the programme;
Maniates (Mannerism in Italian Music and Culture, University of North Carolina Press,
1979) observes, in relation to that madrigal, that “from Monteverdi, Schütz developed
his mastery of declamatory motives as well as affective harmonies and melodic
contours”. One of Monteverdi’s harmonic devices which Robert mentioned (the shift
from a minor to a major key, the two having one note in common) occurs in this
section; on care selve, (where the singer is bidding farewell to the dear woods) the
chords for the two syllables of selve are F minor followed by G major. The opening
section is very reminiscent of Ohime il bel viso, with the first and second sopranos’
repetitions of “addio” introducing the farewell sung by the lower voices; the last deep
sighs before the contemplated death are vividly painted, as is the despair of a soul
which can find no resting-place in heaven or hell.
The next two items were settings of psalm texts by Johann Herrmann Schein. Born in
1586, he, like Schütz, began his musical career as a choirboy, studied law at his
university, and enjoyed the patronage of a member of the German nobility, resulting,
in his case, in his appointment as Kapellmeister to the ducal court at Weimar, where
he remained for a short time before becoming Kantor at the Thomaskirche. It was
just before he took up the Weimar post that he published his first collection of sacred
music, Cymbalum Sionium, the source of the next item in our programme. Schein,
says the New Grove, was one of the first composers to graft the style of the Italian
madrigal, monody and concerto onto the traditional elements of Lutheran church
music. Singet fröhlich Gotte is a vigorous setting of Psalm 81, vv.1-4 which is much
less contrapuntal than the madrigals that preceded it in the programme, and is very
detailed in the word setting, with the opening statement being followed by the dance
rhythm of jauchzet, jauchzet der Gott Jakob, the imitations of the string, percussion
and wind instruments which accompany the rejoicing at the Feast of the Tabernacles,
and a final imposing declaration of the statute for Israel and the law of the God of
Jacob. The second item, Die mit Tränen säen, a setting of Psalm 126, v.5-6, is from
his 1623 collection, Israelsbrünnlein (or Fontana d’Israel) which consists of thirty
settings of Old Testament texts scored for SSATB and continuo (omitted from the
edition which we used and thought to be not really necessary in any event). The
chromatic sequences and discords which characterise the episodes of weeping
contrast sharply with the simplicity of the passages representing the joyful
homecoming, and the busy passage of sheaf-gathering which follows approaches its
end with a fine flourish by the sopranos.
The programme continued in chronological order with a chorus from the oratorio
Jephte, written shortly before 1650 by Giacomo Carissimi (1605-74). Carissimi spent
his professional life from 1629 onwards as maestro di cappella at the Collegio
Germanico in Rome. His works included masses, motets and cantatas, but it was as a
composer of oratorios that he was acknowledged to be pre-eminent. We sang the
final six-part chorus plorate, filii Israel, a highly rhetorical composition with the calls
to lamentation emphasised by numerous dissonances. Commiserations (or
congratulations, according to taste) are due to the basses who, whatever the
dispositions of the upper five voices, had to continue doggedly repeating their
exhortations to lament without a break for the entire seventy bars before the final
The final piece chosen to illustrate the Monteverdi influence was Purcell’s well-known
anthem, Remember not, Lord, our offences, written in about 1680. The previous
three decades, from the time of the Commonwealth onwards, had been a relatively
barren period for English church music; although Tomkins, the last survivor of the
tradition that sprung from Tallis and Byrd, lived on till 1656, most of the sources of his
liturgical music date from the 1640s or earlier. There was need for a new style and
Purcell provided it. The opening homophonic section of Remember not, Lord, our
offences is declamatory and full of harmonic contrasts. The device of groups of voices
singing different text at the same time which appears in Ohime il bel viso is also
employed in the contrapuntal section of Remember not where, from bar 12, there is
continual interchange of the voices between the two text phrases “neither take thou
vengeance of our sins”, and “but spare us, good Lord” until all five voices reach “spare
us, good Lord” in bar 27. Then the writing becomes homophonic again with some
startling dissonances (not surprisingly, on the word “angry”) where the basses have
an F under a G major chord in the upper four voices at bar 35 and a G under an A
major chord at bar 38; and it is not until the final words “good Lord” that concord is
We are all indebted to Robert for a fascinating guided tour through a musical
landscape which has not been extensively explored in recent TVEMF events. Warm
thanks are also due to Catherine Lorigan for organising the event and to all those who
in various ways helped to make it such a satisfying occasion.
Christmas concert of early music
Please come to a concert I'm sponsoring at St Mary’s Adderbury, nr Banbury, at 4pm,
Sunday Dec 14. As a TVEMF member I will arrange for you to get up to two £12
tickets 25% off by emailing your name to me at jobpetergmail.com. Hear the
magnificent Christmas Oratorio by Heinrich Schutz, with its angels, flute-playing
shepherds, nice wise men, not so nice Pharisees and a very nasty Herod. The
programme is directed by noted Royal Academician Laurence Cummings. It includes
seasonal music by Byrd, Morley, Tallis, Praetorius, Victoria and Thomas Ravenscroft,
the composer and folk music collector who first wrote down Three Blind Mice 400
years ago. His item bears a suspicious resemblance in parts to the National Anthem
written decades later….
Robert Morley walnut spinet, 1967 model S5, on square tapered legs.
In good condition, one owner from new. Offers around £1200
In Braintree but can deliver if necessary.
Morley virginals, made 1962. In playing order, quite good condition £250.
Located in North London. Contact Rodney Hughes on 0771158337
alan.reeder1yahoo.co.uk (07747 666972)
available from teacher with over 18 years experience.
Whether you are looking to pass exams, diplomas,
improve your continuo playing, or just want to learn for fun,
lessons are designed to suit individual needs.
Please call Katharine May (GRSM Hons, ARCM) on 01628 783272 or email
Thursday 20th November. Kate van Orden (Harvard) Musica Transalpina: French
music, musicians & identity in 16th C Italy
Thursday 4th December. Magnus Williamson (Newcastle) Praying for a safe delivery:
Mary Tudor, Thomas Tallis and the chronology of Tudor Music
Thursday 29th January. Reinhard Strohm (Oxford) 600 years of origins: Polyphonic
practices in Europe in- and outside the historiographical canon
Thurs 12th February. Susana Zapke (Konservatorium Wien) Urban music in Vienna in
the 14th-15th century: public spaces and musical practices
Thursday 26th February. Emma Dillon (King’s College London) Song and the Old
French romance tradition
Thursday 12th March. Anna Zayaruznaya (Yale) The late works of Philippe de Vitry
Seminars in Medieval & Renaissance Music
Wharton Room, All Souls College 5-7pm
Free admission, open to all. The speaker’s presentation is followed by a full hour of
discussion during which wine is served.
www.handelhouse.org/whats-on To book tickets please call the booking line on
020 7399 1953. November concerts were in the September Tamesis.
Thursday 4 December, 6.30-7.30pm. A Foundling’s Christmas
In 1750 Handel directed a performance of Messiah at the Foundling Hospital and his
involvement continued for many years. The Amadé Players present a programme
reflecting what a Foundling may have heard during the long, cold winter nights of the
Sunday 7 December, 2-3pm. Family Event: A Christmas Celebration
Start your seasonal celebrations with a delightful programme of Christmas music from
around the world. Explore and create the musical sounds of a winter landscape and
then warm up with some toe-tapping Christmas party music! Flautotonic are Lauren
Brant, David Beaney (recorders), Rebecca McChrystal (percussion) and Claire Williams
Tuesday 9 December, 6.30-7.30pm. BHS Recital: Fortune My Foe
Harpsichordist Alina Rotaru will take you on a journey into one of the most
enlightened and cosmopolitan musicians of the late Renaissance: Jan Pieterszoon
Sweelinck (1562-1621), the ‘Orpheus of Amsterdam’.
Thursday 11 December, 6.30-7.30pm. Yuletide Handel
This programme brings to life popular operatic music heard in London during the
Christmas season in the 1720s and 30s. Works will be presented by Handel, Ariosti,
Porpora and Veracini. Ballo Baroque Ensemble are Randall Scotting (director and
countertenor), Pia Pircher (viola da gamba) and Marie van Rhijn (harpsichord).
Sunday 14 December, 2-3.30pm. From Leipzig to London at Christmas
The Brook Street Band presents a virtuosic and poignant programme for cello and
harpsichord, representing Bach and Handel at the height of their musical powers.
Performers are Tatty Theo (baroque cello), Carolyn Gibley (harpsichord).
Thursday 18 December, 6.30-8pm. Christmas Treats
Feast your ears with seasonal delights for Handel House’s last concert of the year.
There will be plenty of sing-a-long hymns with extracts from Messiah, dazzling organ
solos and a glimpse into Handel’s Christmas with arias from the operas he wrote
during this time. Angela Henckel (soprano), Trevor Bowes (Bass) and Robin Walker
(organ). Venue: St. George’s Hanover Square, St. George’s Street, W1S 1FX
Thursday 1 January, 6.30-7.30pm.
BLOCK4 explore the versatility of the recorder in a programme that spans several
centuries and will include a world premiere by Handel House Composer-in-Residence
Apprentice, Edwin Hillier. Emily Bannister, Lucy Carr, Katie Cowling & Ria Smith
Thursday 8 January, 6.30-7.30pm. East Meets West
A meeting of minds… Handel first met Telemann in 1701, and they remained friends
for more than 50 years. Telemann was a colleague of Bach’s in Eisenach, and became
godfather to his son, Carl Philipp Emanuel in 1714. Jill Kemp (recorders) and Claire
Williams (harpsichord) present a programme which juxtaposes these three baroque
giants with two of the most inspirational and influential 20th century Japanese
Tuesday 13 January, 6.30-7.30pm. BHS Recital: Soirée Française
Nathaniel Mander presents an evening of decadence in the company of the great
masters of the late French harpsichord tradition.
Thursday 15 January, 6.30-7.30pm. Handel’s Tenor
Guy Withers (tenor), accompanied by Robert Court (harpsichord), will explore the
varied repertoire Handel wrote for his most favoured tenor, John Beard, in a
collaboration that lasted almost twenty years.
Thursday 22 January, 6.30-7.30pm. Winter, Spring, Summer
ARCATA BAROQUE journeys through the seasons with Henry Purcell's frosty setting of
Motteux's poem, Arne's of Shakespeare and Hayes' cantata set in Ross-on-Wye. The
transition to Spring occurs in Daniel Purcell's Cantata featuring the despairing Clorinda
as she awaits the return of her beloved Damon. The concert concludes with a
scorching scene of Summer by Boismortier.
Thursday 29 January, 6.30-7.30pm. Capturing Cuzzoni: Drama and the Diva
Italian operatic sensation Francesca Cuzzoni was Handel’s leading lady at London’s
Royal Academy of Music between 1723 and 1728. Join Christina Haldane (soprano),
Carl Gionet (harpsichord) as they capture her persona in a programme featuring arias
from Ottone, Flavio, Guilio Cesare, Rodelinda, Alessandro and Scipione.
A Year in the Life of Handel: 1738. Wednesday 1 October 2014 – Sunday 4
1738 was a year of varying fortunes for Handel – the Italian opera was failing and he
was turning increasingly to the new form of the English oratorio. But at the same time
a magnificent statue of him was unveiled at Spring Gardens in Vauxhall, celebrating
his pre-eminent position in London society.
It was the year in which Handel helped create the Fund for Decay’d Musicians, the
roots of the new Methodist ministry were established, and Fortnum and Mason
invented the Scotch Egg.
Once again a team of Handel House Volunteers will research and curate the exhibition,
and the story of 1738 will be told through images and objects from the Handel House
Collection, together with loans from other museums.
Exhibition Talks at 3pm: Saturday 29 November, Saturday 20 December.
From 1 November until late July 2015 there will be no lift access to the museum. If
you have any questions, please contact the museum in advance of your visit.