ACADEMY OF ANCIENT MUSIC 2017-18 SEASON
Academy of Ancient Music Bojan Čičić
director & violin
Frank de Bruine oboe
Italy in England
When Handel met Corelli
Milton Court Concert Hall, London
Friday 20 October 2017 West Road Concert Hall, Cambridge
CORELLI
Concerto Grosso in D major Op. 6 No.4 (1714)
AVISON
HANDEL
Concerto Grosso No.3 in D minor "The garden of harmony" (after Scarlatti) (1744)
GEMINIANI
SAMMARTINI
Concerto for Oboe No.3 in G minor (1704-5) Concerto Grosso in C major (after Corelli Op.5 No.3) (1726)
Concerto for Oboe in E-flat major (c.1728)
SAMMARTINI
Concerto Grosso Op.6 No.5 (1739)
Sinfonia in G major (date unknown) 20-minute interval
HANDEL
Italy in England
Thursday 19 October 2017
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Welcome Welcome to this evening’s concert celebrating the influence of Italian composers on music in England, and in particular the development of the concerto grosso as a musical form. This concert follows a very successful start to our season a few weeks ago with an imaginative re-working of Purcell’s semi-opera, King Arthur. I’m thrilled to find the national press agreeing with AAM’s supporters in acknowledging the exceptional qualities that our players bring to the stage (“the AAM’s buttery strings, cooing winds and nobly bronzed trumpets …” wrote The Times, amongst plaudits from many others). It is therefore with great pleasure that I welcome you to tonight’s concert to hear our exceptional orchestra continue its season. A few weeks ago AAM launched a Strategic Recording Fund, designed to allow us to make recordings of music that has never been recorded before, music which can help us promote our concerts, or music to benefit our education projects. The Strategic Recording Fund will enable AAM to record or film short works or movements for everyone to hear. I believe there are no really brilliant releases of the Handel Oboe Concerto (for example)
currently available – I would love to see AAM be the first to record this work in a truly engaging, historically informed performance. We would be delighted to hear from you if you were able to support this new fund; do contact me directly on support@aam.co.uk . Over the summer our leader, Pavlo Besnosiuk, stepped down; we are very grateful for the years he has spent with the orchestra, and wish him well – we hope to see him back soon. I am very pleased that Bojan Čičić (a regular guest leader and director with AAM) joins us this evening, and delighted to welcome Frank de Bruine, a long-standing performer with AAM, for two oboe concertos. I hope that you enjoy this evening’s concert, and will return to hear us throughout this season, which features some superb programmes with wonderful artists, including Carolyn Sampson, Nicola Benedetti, Ilker Arcayürek, and many more.
Alexander Van Ingen AAM Chief Executive
AAM Quick Pick Each concert Lars Henriksson picks out one key thing to listen out for It’s been said of Corelli that he was the most influencial composer of the baroque period. He never set foot in England, yet the legacy of his concerto grosso style dominated the English ”orchestral” scene for decades. Charles Avison never set foot in Italy and after some youthful years in London he spent the rest of his life as organist in Newcastle. Yet his understanding of the concerto grosso style is very impressive, which is clearly evident in his Concerto No.3 in D minor. He might as well have been born in Rome!
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Surveying the Past Robert Levin, inaugural Hogwood Fellow, places tonight's music in context Italian influence on European art was pervasive and ubiquitous. Painters such as Pieter Bruegel the Elder and Dürer thronged to Italy to perfect their training, and Italian artists fanned out across the Continent and to England, where their presence decisively influenced the culture. The centrality of Italy in music was comparable, being abetted by the circulation of manuscript copies and printed editions of compositions, enabling study and performance without the presence of the composer; and performers from Italy sought and obtained prestigious positions abroad. Thus Purcell, whose music will be heard next month, was able to absorb Italian influences into his style in situ. Composers, like their artist counterparts, went to Italy to experience and study the music of Italian masters: Heinrich Schütz went to study with Monteverdi, Gluck with Giovanni Battista Sammartini, Mozart with Padre Martini, and – central to tonight’s offerings – Handel with Corelli. Handel was in Italy from 1706-10 and, in addition to his work with Corelli, met Alessandro Scarlatti and his son Domenico. Corelli’s influence on Handel is clearest in his 1739 twelve concerti grossi, Op.6. He takes over Corelli’s scoring of tutti strings with a concertino of two violins and cello, a texture also found in the twelve Geminiani concerti grossi arranged from Corelli’s Op.5 violin sonatas, the third of which graces our programme. Like Handel, Geminiani was an expatriate, a violin virtuoso who emigrated to London in 1714 and remained there until 1732, afterwards spending periods of time in
Dublin, Paris and London. Like Handel, he studied with Corelli and is equally famous for the virtuosity of his violin music and for his treatises, which remain essential reading. The texture and structure of Corelli’s, Geminiani’s and Handel’s concerti grossi differ significantly from those of Vivaldi, which had a decisive influence on JS Bach’s style. The Sammartini brothers, Giuseppe and Giovanni Battista, were oboists and composers. The older Sammartini, Giuseppe, emigrated to London around 1728; at his death he was eulogized in the Whitehall Evening Post as “Musick Master to her Royal Highness and thought to be the finest performer on the hautboy in Europe,” and the English music historian John Hawkins hailed him as the “greatest [oboist] the world had ever known,” his music as “full of science, originality, and fire." We shall hear his Oboe Concerto in E-flat major, which survives in a manuscript copy found in the Sächsische Landesbibliothek in Dresden. Giovanni is represented by one of many symphonies he wrote in G major, his music straddling the Baroque, pre-Classic, and Classical eras: the present work reflects the middle period with a brief second movement more redolent of the Baroque. It is easy to see how these Italian and Italianate works took listeners by storm and inspired composers throughout Europe to imitate them. The catchy tunes, vibrant rhythms, the motoric drive powered by exhilarating sequences – all of these devices create to this day a sense of exhilaration.
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Programme Notes Arcangelo Corelli (1653-1713) Concerto grosso in D major Op.6 No.4
Charles Avison (1709-70) Concerto grosso No.3 in D minor (after Scarlatti)
George Frideric Handel (1685-1759) Oboe Concerto No.3 in G minor
Giuseppe Sammartini (1695-1750) Oboe Concerto in E-flat major (Veil SamG5)
Francesco Geminiani (1687-1762) Concerto grosso No.3 in C major (after Corelli’s Violin Sonata Op.5 No.3)
George Frideric Handel (1685-1759) Concerto grosso in D major Op.6 No.5
Adagio – Allegro – Adagio – Vivace – Allegro – Allegro
Grave – Allegro – Sarabande – Allegro
Largo andante – Allegro spirituoso – Vivace – Allegro
Adagio – Allegro – Grave andante – Allegro
[no tempo indication] – Allegro – Presto – Largo – Allegro – Menuet
Adagio – Allegro – Adagio – Allegro
Giovanni Battista Sammartini (1770/1-75) Sinfonia in G major (J-C39)
Allegro ma non tanto – Grave – Allegro assai – Minuetto 20-minute interval
Sometimes the simplest way to grasp the development of music during the baroque period is to see it as the spread of Italian influence through the rest of Europe. As their names suggest, most of the important genres of the time – concerto, concerto, cantata, opera – had their origins south of the Alps, and in most countries the adoption by composers of Italian musical styles was a surefire way of signalling that you were
“modern”. Similarly, the importation and employment of Italian musicians – most prominently violinists and singers – could be seen as a sign of cosmopolitan sophistication. England was especially susceptible to Italian invasion, sometimes to the locals’ pleasure (English music, said Purcell in 1690, was “now learning Italian, which is its best master”), and sometimes their disgust (as when Handel’s oratorio orchestra in
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By far the single most influential composer of the concerto grosso type was the violinist and composer Arcangelo Corelli, whose single set of twelve, his Op.6 published posthumously in 1714, won him recognition as a seminal musical figure far beyond the confines of the city of Rome where he lived and worked. As early as 1689 he was being described as “the new Orpheus of our days”, and in 1711 he Today we tend to think of a concerto as was lauded as “the greatest glory of this a work for a single soloist and orchestra, “It [is] wonderful century, of whom fame speaks and ever usually requiring much bravura virtuosity to observe what a shall speak”. One of the most satisfying from the former and a mixture of supportive individual concertos of Corelli’s Op.6 accompaniment and dynamic contrast scratching of Corelli is the fourth, a work of characteristic from the latter. This way of looking at it, there is everyhere – poise and balance, and one, too, which however, has only come to dominate since nothing will relish shows the skill with which Corelli towards the end of the baroque era. In the handled his resources, mixing duelling 17th century the term “concerto” was such but Corelli." violins, good-natured exchanges a loose one that it was even used for vocal Roger North, 1710 between concertino and ripieno, and works, and although it eventually settled a gigue that seems to be the final word on instrumental compositions, in the first until the music plunges into an exhilarating coda. decades of the 1700s there were still two basic types in play: the solo concerto, represented most Perhaps nowhere was Corelli’s music worshipped more than clearly by the works of Vivaldi, and the concerto grosso, in England. “It [is] wonderful to observe what a scratching in which a solo group of two violins and cello (known of Corelli there is everywhere – nothing will relish but as the concertino) dialogued politely with a larger body of Corelli”, wrote the theorist Roger North in 1710. Corelli never strings (the ripieno). 1734 was dismissed by one contemptuous onlooker as “his lowsy Crew, a great number of forreign fidlers”.) Tonight’s concert celebrates the imprint made on English music by Italian musicians and by the concerto, in particular its sub-group the concerto grosso.
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visited England himself, but it is notable that this country’s most famous musical immigrant, George Frideric Handel, was happy to follow his model when it came to his own concertos. Not only did his Op.6 appear under the title “Twelve Grand Concertos” – a literal translation of the Italian concerti grossi – but they are clearly laid out in Corellian fashion. Perhaps even the adoption of the same opus number could be seen as a nod to Corelli’s eminence in the field. Whatever the case, Handel certainly had nothing to fear from the comparison, for in these twelve perfectly crafted works he produced a set to rival even Bach’s Brandenburg Concertos at the pinnacle of Baroque orchestral writing. The D major Concerto, Op.6 No.5, like many of Handel’s instrumental pieces, is a mixture of original and pre-existing music; the first two movements are both adapted from the overture for his Ode to St Cecilia’s Day (and sound like it), as is the Menuet, but since the Ode had been composed immediately before the concertos, in September 1739, we can safely bundle these movements up with their companions in the same glorious burst of inspiration that saw the whole of Op.6 produced in the space of a month. That Handel’s Op.6 were as much compiled as composed does nothing to undermine their Corellian standing. Many
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of Handel’s most famous works recycled earlier music, and in this case the compilation at least seems to have been his own doing, giving them more stylistically integrity than his previous published set of concertos, the Op.3, which were probably assembled by his publisher. That the work labelled as “No.3” of three further concertos known today as his “oboe concertos” is thought to date from his earliest years as a composer in Hamburg in 1704–5 means that it was quite possibly composed with no knowledge of Corelli’s concertos at all – and certainly it shows none of their influence. The popularity of Corelli’s music in England – not just his concertos but also his violin sonatas and trio sonatas – was such that his relatively small corpus of works struggled to meet enthusiastic demand, and soon the arrangers were at work. The twelve violin sonatas of his Op.5, published in 1700 and as important to the development of their genre as the concerti grossi were to theirs, were issued as recorder sonatas as early as 1702, and in the mid-1720s even appeared in an edition in which they had been cleverly converted into twelve perfectly idiomatic concerti grossi. The author of these highly successful transcriptions was the Lucca-born Francesco Geminiani,
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the sonatas into a set of twelve concerti grossi, having earlier a one-time pupil of Corelli and himself one of Europe’s most explained that, what with the originals “being extremely admired violinists, who after moving to London in 1714 difficult, either with capricious Divisions, or an unnecessary quickly made a name for himself as a composer as well as Repetition in many Places … forming them into Parts, and a performer. He also published 20 or so fine concerti grossi taking off the Mask which concealed their of his own that were very much in the natural Beauty and Excellency, will … more Corellian mould, and it is a tribute to his effectually express that pleasing Air, and sensitivity and skill as a composer in his Scarlatti's heady sweet Succession of Harmony, so peculiar own right – and to the consistency and to the Compositions of this Author”. robustness of Corelli’s musical style – that individuality and But although Avison ironed out some the transformation from chamber to virtuosic brilliance of what we might today consider to be orchestral music of a sonata such as Op.5 were enough to fuel Scarlatti’s more attractive quirks, producing No.3 is entirely convincing. an enthusiastic cult for something a little more politely English in the process, the spirit of the originals is still Corelli was not the only Italian composer his music in England. detectable. Concerto No.3 makes use of to wow the English public during the the sonatas Kk12 and Kk13 in the first two 18th century, and nor was Geminiani movements and Kk36 in the last, but the the only one make smart use of the third is either original Avison or based on a Scarlatti sonata fact. In 1738 a publication entitled Essercizi per gravicembalo now lost. was issued in London consisting of 30 one-movement harpsichord sonatas by Domenico Scarlatti, whose heady Scarlatti is sometimes said to have visited London in 1720 for individuality and virtuosic brilliance were enough to fuel an enthusiastic cult for his music in England. Among his admirers performances of his opera Narciso, but hard evidence for this is sadly lacking. Among the many Italians who actually made was the leading Newcastle-based composer and impresario their home in England during the first half of the Charles Avison, who in 1744 ingeniously fashioned some of
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18th century, however, was Giuseppe Sammartini, an oboist from Milan who from 1728 was a noted soloist and musicmaster to the children of the Prince of Wales, and played in Handel’s opera orchestra on numerous occasions. After his death one newspaper obituary described him as “thought to be the finest performer on the hautboy in Europe”. His graceful Oboe Concerto in E-flat, like Avison’s, follows the four-movement, slow-fast-slow-fast format of Corelli. Giuseppe’s younger brother Giovanni Battista was also an oboist, though never left Milan where he became a leading church composer. Yet it is his nearly 70 symphonies – vital works in the creation both of the genre and of the musical language of the emerging Classical style – that cause him to be remembered today, and indeed that helped spread his fame beyond Italy during his own lifetime. We know, for instance, that Vivaldi directed a performance of a Sammartini symphony in Amsterdam in 1738, that another was heard at the Concert Spirituel series in Paris in 1751, that manuscript copies of two symphonies were held in the library of Haydn’s employer Prince Esterházy, and that many of them were published in Europe’s two great music-printing capitals, London and Paris. He even gets a mention in Laurence
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Sterne’s quirky novel of 1768, A Sentimental Journey. The Sinfonia in tonight’s programme is from the early part of his career, and like many of its companions shows both the influence of the operatic overture in the bustling energy and emphatic chords of first movement, and of the Vivaldian concerto in the atmospheric minor-key slow movement which briefly carries the work’s main emotional weight. The third movement enjoys some Scarlatti-style byplay, and the work ends with a minuet. Programme note © Lindsay Kemp
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© Nick Rutter
violin / director
Bojan Čičić specialises in repertoire ranging from the late 16th century to the Romantic period. He has appeared many times as a director with Academy of Ancient Music and the European Union Baroque Orchestra, and been a guest leader and soloist with the Orchestra of the Eighteenth Century, the Orchestra of the Age of Enlightenment and the Budapest Festival Orchestra, working closely with conductors such as Frans Brüggen and Trevor Pinnock. Bojan has featured as leader on numerous recordings with ensemble Florilegium, La Nuova Musica, and the Arcangelo Consort. His recording of JS Bach’s Concerto for Two Violins with Rachel Podger was recently named the best available recording by BBC Music Magazine, and this year, his own group, the Illyria Consort, made their first disc with Delphian Records, a recording of Carbonelli's virtuosic violin sonatas. Future projects include directing Vivaldi’s Four Seasons with the European Union Baroque Orchestra and performing Mendelssohn's Violin Concerto with the Instruments of Time and Truth. Bojan plays a violin by Rugieri from the 1680s, kindly loaned to him by the Jumpstart Junior Foundation.
Frank de Bruine oboe
© Benjamin Ealovega
Bojan Čičić
Frank de Bruine received his musical training at the Royal Conservatory in The Hague, from where he graduated with distinction. Since then he has played with many period orchestras in Holland, England, Germany and France. He plays principal oboe for Academy of Ancient Music, the Orchestra of the Eighteenth Century and Concerto Copenhagen.
He is also renowned as a soloist performing across Europe, the USA, South America and Japan. He has recorded oboe concertos by Vivaldi and Albinoni with AAM and Christopher Hogwood, as well as recordings for the Wigmore Hall Live label and Harmonia Mundi (also with AAM). He features on AAM’s acclaimed recording of JS Bach’s Brandenburg Concertos and most recently he recorded Handel’s Oboe Sonatas Op.1 with Richard Egarr. Frank makes regular appearances as a teacher at courses in Holland, Poland and Canada. He teaches early oboe at the Royal Conservatory in The Hague and at the Utrecht Conservatory. Frank plays an oboe made by Pau Orriols in 2007, modelled after an original by Thomas Stanesby from around 1730.
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Academy of Ancient Music Violin I Bojan Čičić Persephone Gibbs Sijie Chen Violin II Rebecca Livermore William Thorp Liz MacCarthy
Sponsored Chairs
Viola Jane Rogers
Oboe Frank de Bruine
Cello Sarah McMahon
Harpsichord Alastair Ross
Principal Viola Richard and Elizabeth de Friend
Double Bass Judith Evans
Keyboard Technician Malcolm Greenhalgh
Sub-Principal Viola Nicholas and Judith Goodison Principal Cello Dr Christopher and Lady Juliet Tadgell Sub-Principal Cello The Newby Trust
© Patrick Harrison
Principal Theorbo John and Joyce Reeve
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Our Team Music Director Richard Egarr Hogwood Fellow Robert Levin
Head of Concerts and Planning ChloĂŤ Wennersten
Chief Executive Alexander Van Ingen
Projects and Fundraising Co-ordinator Alice Pusey
General Manager Anthony Brice
Fundraising Assistant Leonore Hibou
Orchestra Librarian Adrian Horsewood
Artistic Consultant Lars Henriksson
Programme Editor Sarah Breeden
Finance Marianna Lauckner Palieskova
Development Consultant Harriet Lawrence
PR Consultant WildKat PR
Board of Trustees
Development Board
Philip Jones (chairman) Hugh Burkitt Matthew Ferrey Philip Jones Graham Nicholson John Reeve Madeleine Tattersall Janet Unwin
Philip Jones* (chairman) Delia Broke Hugh Burkitt Elizabeth de Friend Andrew Gairdner MBE Peter Hullah Roger Mayhew Annie Middlemiss Craig Nakan Jill Pellew John Reeve*
Honorary President: Christopher Purvis CBE
Marketing Consultants Bethan Sheppard ChloĂŤ Priest Griffiths
Council Chris Rocker* Terence Sinclair* Madeleine Tattersall* Janet Unwin *Fundraising committee member
Adam Broadbent Kate Donaghy Jonathan Freeman-Attwood Carol Grigor Tim Harvey-Samuel Nick Heath Lars Henriksson Christopher Lawrence Sir Konrad Schiemann Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell
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Who we are and what we do Music
The Academy of Ancient Music is an orchestra and choir that perform music from the baroque and classical era in the way it was first intended. This means taking inspiration from the composers themselves; through careful research and using first edition scores as often as possible. Our historically informed approach was groundbreaking when the orchestra was founded in 1973 by scholar-conductor Christopher Hogwood and AAM remains at the forefront of the early music scene today, under the leadership of Music Director Richard Egarr.
Recordings
Originally established as a recording orchestra AAM has an incredible catalogue of more than 300 CDs which have won numerous accolades, including Brit, Gramophone, Edison and MIDEM awards. On its own in-house label, AAM Records, the orchestra has released five critically acclaimed recordings. The most recent release, a stunning selection of instrumental works by Dario Castello, a Venetian composer from the early baroque period, was launched in October 2016.
Education
Since 2010 AAM has run its AAMplify education scheme, with the aim of nurturing the next generation of young artists and audiences. Working with partners around the country, AAM delivers workshops, masterclasses and other special projects for children and people of all ages.
2017-18 Season
The 2017-18 season began with a semistaged performance of King Arthur, the second instalment of AAM’s three-year Purcell opera cycle. Also this season the Choir of AAM takes centre stage at the Barbican for performances of Handel’s Messiah and Bach’s St John Passion, joined by first class soloists; and Nicola Benedetti performs virtuosic Vivaldi and Telemann concerti on gut strings. In West Road and Milton Court concert halls, soloists from AAM feature in programmes exploring the musical impact of cross-European migration, and the "reversed fortunes" of Telemann and Bach. Soprano Carolyn Sampson celebrates English song from Dowland to Arne; and a programme of secular and sacred vocal music showcases the pairing of soprano Keri Fuge and countertenor Tim Mead.
AAM is Associate Ensemble at London’s Barbican Centre and Orchestra in Residence at the University of Cambridge and at the Grange Festival. Visit aam.co.uk to find out more.
Thank you The AAM is indebted to the following trusts, companies and individuals for their support of the orchestra’s work.
TRUSTS & FOUNDATIONS The Backstage Trust Constance Travis Charitable Trust Dunard Fund Garfield Weston Foundation Geoffrey C Hughes Charitable Trust The Goldsmiths' Company Charity Harold Hyam Wingate Foundation J Paul Getty Jr Charitable Trust John Armitage Charitable Trust Newby Trust Ltd The Nicholas John Trust The Polonsky Foundation Sir Siegmund Warburg’s Voluntary Settlement and other anonymous trusts and foundations
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AAM SOCIETY The Chairman’s C ircle Matthew Ferrey Mrs Julia Rosier The Hogwood C ircle Christopher and Phillida Purvis * Terence and Sian Sinclair Dr Christopher and Lady Juliet Tadgell Principal Patrons Richard and Elena Bridges Richard and Elizabeth de Friend Christopher Hogwood CBE, in memoriam * Ralph Hullah, in memoriam Mrs Sheila Mitchell and other anonymous Principal Patrons Patrons Lady Alexander of Weedon Clive and Helena Butler Mr John Everett Malcolm and Rosalind Gammie Nicholas and Judith Goodison * Graham and Amanda Hutton Philip Jones David and Linda Lakhdhir Mark and Liza Loveday Roger Mayhew Graham Nicholson Nigel and Hilary Pye John and Joyce Reeve Chris and Ali Rocker John and Madeleine Tattersall Mr Anthony Travis Mark West and other anonymous Patrons
Principal Benefactors Carol Atack and Alex van Someren John and Gilly Baker Mrs D Broke Jo and Keren Butler Kate Donaghy The Hon Simon Eccles Ed Hossack and Ben Harvey Mark and Sophie Lewisohn Steven Larcombe and Sonya Leydecker Mr and Mrs C Norton Mark and Elizabeth Ridley Sir Konrad and Lady Schiemann * Julian and Anne Stanford Stephen Thomas Paul and Michi Warren Julie and Richard Webb Mr Andrew Williams Mrs R Wilson Stephens Charles Woodward and other anonymous Principal Benefactors
Benefactors Dr Aileen Adams CBE Elise Badoy Dauby Professor John and Professor Hilary Birks Mrs Stephanie Bourne Mr and Mrs John Brisby * Adam and Sara Broadbent Hugh Burkitt Jonathan and Belinda Davie Marshall Field Michael and Michele Foot CBE Andrew and Wendy Gairdner The Hon William Gibson Mrs Noel Harwerth and Mr Seth Melhado The Hon Mr and Mrs Philip Havers Professor Sean Hilton Heather Jarman Mr Peter and Mrs Frances Meyer Chris and Valery Rees The Hon Zita Savile Dr Robert Sansom Ms Sarah Shepley and Mr Kevin Feeney Mr Michael Smith Peter Thomson and Alison Carnwath Mrs Janet Unwin Peter and Margaret Wynn Oriel Williams and Mick Stump and other anonymous B enefactors Donors Angela and Roderick Ashby-Johnson Marianne Aston Elisabeth and Bob Boas * Lord and Lady Browne-Wilkinson Charles Bryant David and Elizabeth Challen
Derek and Mary Draper Nikki Edge Christopher and Jill Evans Tina Fordham Mr Patrick Foster Charlotte Fox Michael and Margaret Garner Mrs Marilyn Minchom Goldberg Miles and Anna Hember Elaine Hendrie Mrs Helen Higgs Mr and Mrs Charles Jackson Alison Knocker Mr and Mrs Evan Llewellyn Richard Lockwood Richard and Romilly Lyttelton Richard Meade Annie Middlemiss Nick and Margaret Parker Mr Edward Powell Jane Rabagliati and Raymond Cross Jane and Robin Raw Mr and Mrs Charles Rawlinson Michael and Giustina Ryan Mahnaz Safa Dr Alison Salt Mr Peter Shawdon Professor Tony Watts Tony and Jackie Yates-Watson and other anonymous D onors * denotes founder m ember
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Bless’d Isle with
Carolyn Sampson
a celebration of English song with music by Dowland, Purcell & Handel Wednesday 1 November, 2017 West Road Concert Hall, Cambridge Box Office: 01223 357851 cambridgelivetrust.co.uk/tickets
Thursday 2 November, 2017 Milton Court Concert Hall, London Box Office: 020 7638 8891 barbican.org.uk
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Explore Recommended recordings of tonight’s works: Corelli Complete Concerti Grossi
Gli Incogniti / Amadine Beyer [ZigZag, ZZT327]
Geminiani Concerti Grossi
Academy of Ancient Music / Andrew Manze [Harmonia Mundi, HMU907261/62]
Avison 12 Concerti Grossi after Scarlatti
The Avison Ensemble / Pavlo Besnosiuk [Divine Art, DA21213]
Sammartini Concerto Grazioso
Capriccio Barockorchester, Dominik Kiefer [Tudor, TUDOR7186]
Handel Concerti Grossi Op.3
Academy of Ancient Music / Richard Egarr [Harmonia Mundi, HMU907415]
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