Online Concert – Women of Note
This concert showcases the music of 18th-century female composers who, though forgotten or ignored by history, in their day shared the stage with and enjoyed the respect and friendship of...
This concert showcases the music of 18th-century female composers who, though forgotten or ignored by history, in their day shared the stage with and enjoyed the respect and friendship of...
This programme is a tribute to the Venetian composer and singer Barbara Strozzi, one of the most important composers of Italian cantatas and baroque arias. Her sensitivity to text and experimentation...
In this concert film, Servir Antico tell the story of Christine de Pizan (1364 – ca.1430), a revolutionary woman who questioned the treatment of women and their prescribed place and...
This concert showcases the music of 18th-century female composers who, though forgotten or ignored by history, in their day shared the stage with and enjoyed the respect and friendship of...
The works selected by Mélisande Corriveau and Eric Milnes for this evening present a vibrant array of French musical styles developed during the 18th century before the French Revolution. The origin and development of the pardessus de viole – known in France as “the woman’s violin”- coincided with the increasing prominence of the violin in French instrumental fashion. The crowning glory of the viola da gamba family, the pardessus – the smallest of the viola da gamba family of instruments – facilitated the instrument’s rise in popularity in France. Most of the works which will be performed were selected from the microfilm collections of the Bibliothèque Nationale de France, and few had been recorded until Mélisande’s recent recording. They are charming, playful, luminous and exquisitely elegant.
Profeti della Quinta has had to cancelled their tour due to the rising cases of Covid 19. We look forward to when they’ll be able to perform with us in...
In the late Renaissance Salomone Rossi, a young Jewish violinist, burst through the barriers of discrimination and became one of the most renowned composers and performers at the court of...
The Baroque ensemble Quicksilver has had to cancelled their tour due to the rising cases of Covid 19. We look forward to when they'll be able to perform with us...
Constantinople partners with the seminal Corsican polyphonic singing group A Filetta, to create an enchanting sonic tableau where light and shadow meet, through sacred and secular songs from the rich Corsican musical tradition. Polyphony by the prodigious vocalists of A Filetta, as well as songs and music orchestrated by Kiya Tabassian, will come together in a deeply moving concert.
Of J.S. Bach’s children that survived into adulthood, four became composers whose music we still perform. While their musical facility reflects their father’s influence, each son had a very different path of travel, employment, and development of their musical voice. Johann Christian’s Chromatic Fugue on B-A-C-H pays homage to the serious, contrapuntal style of the past, but usually the Bach sons write in the galant style of their own generation, characterized by simplicity and immediacy of appeal. The closeness of the Bachs sometimes complicates the attribution of their music. The Orchestral Suite in G minor, BWV 1070, once thought to be by father Johann Sebastian, was more likely written by Wilhelm Friedemann. The Cello Sonata in A Major of Johann Christoph Friedrich seems liberated, natural, and comprehensible when played on a cello fit with a fifth string whereas the Cello Concerto in A minor of his older brother, Carl Philipp Emanuel fits well on the more popular 4-string instrument. Each work demonstrates the language of Sensibility (Empfindsamkeit): intimate, sensitive, and subjective. In their music, emotions are fleeting and instantaneous and, above all, the beauty of melody is emphasized.
The program name ‘Lab’rinths’ evokes the spiritual mystery and human turmoil captured so clearly by Purcell and his contemporaries. Taken from a collection of sacred songs published in 1688 by Henry Playford, ‘Harmonia Sacra’, these devotional songs by Purcell can often be interpreted as biblical ‘mad scenes’: they offer the listener a glimpse into his most dramatic and harmonically adventurous explorations of personal loss, confusion, spiritual angst and delirious ecstasy. These songs will be sung by baritone Jonathon Adams and accompanied by Mélisande Corriveau on viola da gamba and Eric Milnes on organ and harpsichord. Interpolating these vivid scenes are pieces written for two viols by contemporaries of Purcell. Susie Napper will join Corriveau and Milnes for these instrumental selections.
EMV highlights Alexander Weimann, one of the most sought-after ensemble directors, soloists, keyboardists and chamber music partners of his generation, as he inaugurates the newest acquisition of our instrument collection: a fortepiano modelled on an 1819 instrument by Conrad Graf (1782-1851), built by the world-famous Paul McNulty. Graf did much of his most important work during the short life of Franz Schubert, and although he rose to prominence after Mozart and Haydn had died, he was continuing the tradition of Viennese fortepianos with which they were familiar.
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