Today’s programme presents four solo keyboard sonatas by two of the giants of the classical era, Haydn and Mozart, played on fortepiano – the precursor of the modern piano. The piano played in today’s recital is by Paul McNulty (1987), a copy of a 5-octave Viennese instrument by Gabriel Anton Walter (1795). Both Haydn and Mozart owned pianos made by Walter very similar to this instrument. Its light action and clear, transparent sound differ profoundly from the modern piano and reveal the music in ways that bring us much closer to the musical language of the composers’ day.
The Armorel Trio Kathy Chow, from Melbourne, Australia, graduated with first class Honours in piano performance at the Melbourne Conservatorium of Music. Lucia Veintimilla, born in La Mancha, Spain, started playing the violin at the age of four and finished her degree at the High Conservatory of Asturias with First Class Honours. Sebastian Kolin began playing the ‘cello aged seven, studying with Tim Wells at the Royal Academy of Music, then with Naomi Butterworth and Melissa Phelps.
Ceruleo formed in November 2014 at the Guildhall School of Music and Drama and were Brighton Early Music Festival’s Early Music Live! scheme participants for 2015/16. They have performed in the UK and abroad; highlights include the London Festival of Baroque Music at St John’s Smith Square, the Antiqua 2016 series in Accademia del Ricercare, Italy, the London Handel Festival as well as performing live on BBC Radio 3’s In Tune. In July 2017, Ceruleo premiered ‘Rival Queens’; an immersive operatic experience at Handel and Hendrix in London, in collaboration with stage director Thomas Guthrie. Ceruleo were delighted to be Artist Fellows at The Guildhall School for 2016/17. Future plans include performances in the Folkestone Literary Festival and Concerts in the West, alongside a reprisal of ‘Rival Queens’ for Handel and Hendrix in London.
Shakespeare plays are filled with music and songs at every turn, some written specially for specific plays, and others adapted from the varied diet of songs already circulating. The language we associate with Shakespeare permeates also the lute songs which burst into print at the same time. Phrases and ideas echo each other, as in our first two poems, one with music, (Clear or Cloudy) one without (Sonnet to Sundry Notes of Music, from The Passionate Pilgrim). The Shakespeare canon is unstable: now only two of the poems from The Passionate Pilgrim are recognized as his, but we include Shakespeare-infused songs from revivals and adaptations.
A flute quartet is equivalent to a string quartet, but with the first violin replaced by a flute. Its repertoire mainly spans the late eighteenth and early nineteenth centuries, bridging the period between the lessening use of continuo and the pre-eminence of the piano, reflecting also the changes in the instruments themselves, at a time of both musical and political ferment. The London Abel Quartet was formed initially for a project at the British Museum, exploring the use of bass viol instead of viola in the works of JC Bach and Abel. For later repertoire a viola is used - as we do tonight.
Kate Suthers and Cassi Hamilton, violin; Matt Maguire, viola; Antonio Novalis, ‘cello.
Beethoven, Quartet in F minor, Op 95; Hugo Wolf Italian Serenade; Webern, Langsamer Satz; Mozart, Quartet in B flat, K 458 ‘The Hunt’.
‘Great control and dynamic subtlety … their playing at once separated and integrated..’ The Strad, April 2014
Returning by popular demand Kathy Chow, piano; Lucia Veintimilla, violin; Sebastian Kolin, ‘cello. Plus Timothy Chua, violin; and Kate de Campos, viola.
Schumann, Piano Quintet in E flat major, Op 44; Brahms, Piano Quintet in F minor, Op 34.
‘A very committed performance by all three musicians ….great tension, rich in quasi-orchestral textures.’ The Cross-Eyed Pianist
Prach Boondiskulchok, piano; Konrad Elias-Trostmann, violin; Vladimir Waltham, ‘cello
CPE Bach, Sonata in F major, Wq 91 no 3; Beethoven, Piano Trio No 1 in E flat, Op 1 no 1; Schumann, Piano Trio No 1 in D minor, Op 63; Ravel, La Valse, arranged Linos.
Winner of the Royal Philharmonic Society’s Albert and Eugenie Frost Prize for an outstanding new ensemble. Current Ensemble for Chamber Studio Resident at the King’s Place.
Matthew Jones, violin; Annabel Thwaite, piano
Programme to follow
[Matthew Jones]….the finest violinist since William Primrose. Fanfare Magazine.
‘Annabel Thwaite proved herself communicative in the essence of Mahler’s style….drawing maximum foreboding … an enthralling performance.’ Richard Nicholson, Classical Source.
We are delighted to welcome to All Saints, Kingston the winners of the 2022 Royal Over-Seas League Competition for Strings and Piano Ensemble. Don't miss this opportunity to hear them perform ahead of their Wigmore Hall debut later this year. The Trio started their adventure together at Paddington Station in 2020 during the pandemic [...]
Vivier - Piece for Clarinet and Violin Pleyel - Sonata No.1 Hillborg - Duet WF Bach - Viola Duet F61 in G ------------------------------------------------------------------------------- Clarke - Prelude, allegro and pastorale Fuchs - Duo No.1 Weir - Atlantic Drift Coleman - Portraits of Langston
'Orpheus with his Lute' - The Power of Music and Nature King Henry - English Folksong * King David - Herbert Howells Orpheus with his Lute - Ralph Vaughan Williams Fairest Isle - Henry Purcell Linden Lea - Ralph Vaughan Williams ‘Orpheus and Eurydice' - The Ecstasy of Love Annie Laurie - Scottish Folksong * Let Beauty Awake - Ralph Vaughan Williams Silent Noon - Ralph Vaughan Williams Since We Loved - Gerald Finzi Phydilé - Henri Duparc - Interval - 'Orpheus and Eurydice' - The Pain of Loss O Waly Waly - Folksong The Sigh - Gerald Finzi The Salley Gardens - Benjamin Britten OR Rebecca Clarke Now O Now - John Dowland 'The Death of Orpheus' - Precessing Memories and Finding Peace She moved through the fair - Folksong Lamento - Henri Duparc