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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.Find out more
The Quartet have been both prize winners at the Wigmore Hall International String Quartet Competitio, and Junior Fellows in string quartet at the Trinity Laban Conservatoire. Recent debuts have included Barcelona, Istanbul, and Residency at the Academie du Festival d’Aix-en-Provence.Find out more
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.Find out more
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.Find out more
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.Find out more
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.Find out more
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