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Home  >  Early Music Vancouver Past Events  >  Beethoven & Haydn: Consone Quartet

Thursday, October 9, 2025 | 7:30pmChrist Church Cathedral


Beethoven & Haydn: Consone Quartet

Artists: Consone Quartet – Agata Daraškaite and Magdalena Loth-Hill, violins; Elitsa Bogdanova, viola; George Ross, cello

Pre-Concert Chat: 6:45-7:00pm hosted by Denise Ball with members of Consone Quartet

Runtime: approximately 80 min + 20 min interval

“…They play with perfect intonation, tremendous attack, and impeccable historical style. All the four instruments work together with such intelligence and imagination that I would happily listen to them every day.”
– Sir Roger Norrington

London’s Consone Quartet returns to Vancouver with a selection of works by Beethoven, Haydn, Mendelssohn, and more. The first period instrument quartet to be selected as ‘BBC New Generation Artists’ (2022), Consone Quartet is fast making a name for themselves due to their sensitive and historically-informed approach to works of the Classical and early Romantic periods.

This concert is generously sponsored by Delma Hemming

Click here to read the programme notes by the Consone Quartet.


PROGRAMME

Ludwig van Beethoven (1770-1827)
String Quartet in F major, H. 34 (15’) **

Franz Joseph Haydn (1732-1809)
String Quartet in B flat major, Op.71, No. 1 (24’)

Interval

Felix Bartholdy Mendelssohn (1809-1847)
Capriccio from Four Pieces, Op. 81 (6’)

Carl Czerny (1791-1857)
String Quartet in A minor (34′)

**Beethoven’s own arrangement of his Piano Sonata in Eb major, Op. 14, No. 1

Consone Quartet

The first period instrument string quartet to be selected as BBC New Generation Artists, the Consone Quartet are known for their honest and expressive interpretations of repertoire, notably from the classical and romantic eras.

Formed at the Royal College of Music in London, the Consone Quartet launched their professional career in 2015, shortly after which they were awarded two prizes at the 2015 York Early Music International Young Artists Competition, the EUBO Development Trust Prize and a place on the EEEmerging Scheme in France. They went on to win the 2016 Royal Over-Seas League Ensemble Prize, and in 2022 were awarded a prestigious Borletti-Buitoni Trust fellowship. Since 2021 the quartet has been awarded a number of grants from Continuo Foundation which have enabled the group to take creative programmes to locations across the UK.

The quartet has been enthusiastically received at London’s major venues, as well as further afield in Poland, Switzerland, Italy, Germany, Austria, Bulgaria, Slovenia and across North America. Festival invitations include Edinburgh, Cheltenham, Dartington, Two Moors, Buxton, MA Festival in Bruges, Heidelberger Streichquartettfest, Schwetzingen Festival and Festspiele Mecklenburg-Vorpommern in Germany, and Styriarte Graz in Austria. Performing highlights of their 25/26 season include a North American tour with Kristian Bezuidenhout, featuring appearances at the Library of Congress in DC and Salle Bourgie in Montreal; a new collaboration with the Chiaroscuro Quartet (Barbican Centre and NCEM, York); a tour with Helen Charlston (Oxford International Song Festival, Brighton Early Music Festival); and a return to Italy with Alexander Gadjiev.

In 2023, the Consone Quartet premiered The Bridges of Königsberg, a string sextet by Gavin Bryars, commissioned by friends of the Quartet, the Borletti-Buitoni Trust, and BBC Radio 3, broadcast from St Martin-in-the-Fields. Their recent collaboration with Oliver Leith continues a developing commitment to contemporary music: July 2025 marked the English and Scottish premieres of his seven-movement quartet On a horse, on a hill, faraway, through fog and bonfire, which they will also perform at the Concertgebouw, Amsterdam, in May 2026.

Education work remains a core interest to the group, having worked with students at the Royal College of Music in London, Chetham’s School of Music in Manchester, the Royal Welsh College of Music and Drama and the Guildhall School of Music and Drama, as Hans Keller fellows for 2020-2022. 2025 sees the quartet working with students at New England Conservatory in Boston and continuing their community work in South Yorkshire as “visiting quartet” for Sheffield’s Music in the Round, supported by the Frost Trust.

The Consone’s debut recording explored music by Haydn and Mendelssohn and was described by The Strad as an album “that instantly leaps out of the stereo at you as something special.” In Spring 2023 they released the first of three recordings with Linn Records, centring around Felix Mendelssohn. The album, featuring both the ‘1823’ and Op. 44 No. 3 quartets, has been described as ‘top-notch’ (Allmusic) and ‘exquisite’ (Pizzicato). The project continues this season with a disc featuring two further quartets by the composer, alongside his sister Fanny Mendelssohn’s string quartet in Eb major, released in November 2025.

Consone are Artists-in-Residence at Paxton House (2023-2025) and at Saxon Shore Early Music Kenardington (2024-2027).

 

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Een Romantische Johannes Passion

Historical Performance has been steadily looking toward the nineteenth-century as a source of inspiration, and Orchestra Lagrandt wants to lead the charge into Romantic orchestral performance practice. As an orchestra of ambitious musicians in their twenties from 25 different nations, we aspire to represent the voice of the new generation in Historical Performance.

Een Romantische Johannes Passion is an ongoing project to reimagine the Johannes Passion of J. S. Bach in a late nineteenth century style. The first Passion revivals in the Netherlands took place in Rotterdam in 1870, featuring large symphonic orchestrations, and a radically different musical language than that of the HP and modern classical worlds. In our initial performance with the Tangram Chamber Choir, we pushed the boundaries of what Romantic Bach might have sounded like: exploring changes in orchestration, stoic tempi, rubato, phrasing, nineteenth- century bowing practices, and even portamento. We plan to establish this project as an annual tradition every Easter season, reworking the arrangement each time in the spirit of Romantic spontaneity.


One of the wonderful things about the Historical Performance movement is that we are able to use forgotten practices, this time hailing from the nineteenth century, to present such a beloved and well known-work in a new light.

The world is familiar with stories of clever forgers whose life’s mission is to cunningly reproduce the light and shadows of historical masterworks, from Vermeer’s brushstrokes to Da Vinci’s proportional precision… but what if these crimes of craftsmanship were to extend beyond the visual arts? What if the pieces we know to be by Palestrina, Monteverdi or even Johann Sebastian Bach were in fact stylistic copies, artfully composed by a secret circle of music forgers and passed off as the work of the greats? What if those music forgers are at work as we speak? 

This premise inspires our original program The Music Forgery Workshop. Our early music comedy imagines the lives of such a circle of musical criminals, offering a fresh and lively presentation of historical compositions, not as museum artifacts but as living works in progress. The workshop itself is set up on the stage and its members carry forth the plot in music and words. A narrator in the role of a suspicious inspector lends the performance a theatrical flow. The listener is invited into a satire on high society’s art commerce, while the performers make fun of themselves for having devoted their lives to the niche subject of historical music performance. 

Violinist Elizabeth Sommers combines her skills and experience in traditional music with expertise in the performance and improvisation of medieval and Renaissance repertoires. Multi-instrumentalist Eliot X. Dios (keyboards, bagpipes and flutes) works wholeheartedly to employ storytelling techniques developed through the history of literature and cinema in his early music concerts. Composer Gunnar Haraldsson (violin, guitar) seeks to translate the forms and intentions of early composition for a modern audience. Halldór B. Arnarson (keyboards, voice) has devoted his career to bringing musical craftsmanship from the era of counterpoint to the attention of the public and comedy to the early music scene. Singer and storyteller Ásta S. Arnardóttir brings the storyline to the public with personal immediacy, and through her character work defines the different veins of the show, sometimes hilarious and sometimes serious. 

The story is narrated by the character of the Inspector, acted out by the members of the MFW, and told in rhyming Icelandic verse in one musical pillar of the show, a madrigal composed by our very own 

Halldór in the style of Monteverdi. The show has an entertaining educational dimension. The audience is exposed to a broad sweep of historical and musical information in a condensed form, necessary to understand the musical humour, while dramatic rhythm and scenographic effects prevent overwhelm. We also place particular emphasis on theatrical illusion and synchronisation. One example appears in the opening scene, in which the inspector is seen watching television. On stage, this becomes a complex exercise in coordination: each time the inspector presses a button on the remote control, the musicians instantly switch pieces, creating the impression of rapidly changing television channels. 

This opening scene establishes the tone of the entire show, comical and satirical in its storytelling and diverse in its musical language. It not only introduces the wide range of musical styles that appear throughout the performance, but also functions as the plot’s inciting incident, as the inspector hears a news report about the discovery of a previously unknown concerto by Vivaldi. 

Another important scene takes place when one forger is alone on stage in low light, perusing books on medieval music, while the musicians perform and sing offstage, sounding his audiation as he reads. This intimate moment evokes the sleepless nights spent studying facsimiles and learning historical compositional techniques, by which the forger acquires the inspiration and the expertise necessary to his art, and reveals a hidden side of musical performance: the immense amount of study and preparation that precedes the moment on stage. This setting also creates space for visual and musical comedy, as seen in the trailer video, where a 14th-century melody is played backwards because Halldór is unknowingly reading the facsimile upside-down, only realising the mistake when the music begins to sound absurd. 

Fun and friendship are at the heart of the whole project, though the link between music and crime is an important historical consideration. Classical music was often used as the demonstration of a monarch’s power, music teaching as a cover up for secret affairs, and pieces were published under another’s name for profit. Such examples of “inappropriate practices” carry an exciting and attractive element for the audience which the MFW seeks to exploit. Under this light-hearted surface lies a more serious layer of questions concerning our present-day existence, such as excessive materialism in high society and the threat posed on human craftsmanship and skill by the rise of artificial intelligence. 

Please Note:

The main applicant and creative/intellectual driver of the project must be 30 or under (on May 15th).

The average age of all musicians must not be older than 32, and the maximum age of supporting musicians must be no more than 35 (on May 15th.)