Trio Sonata in D minor for treble recorder and oboe, with viola da gamba and harpsichord continuo Largo Allegro Adagio - Vivace A Flemish musician, active in London during the early eighteenth century, Loeillet was a member of the Queen's Theatre Orchestra at Haymarket. In 1710 he left his post. to set himself up as a private music teacher - a highly rewarding move, since his weekly private concerts came to attract many wealthy gentlemen. Descant and sopranino recorders with viola da gamba and harpsichord J B Loeillet (1680-1730) Greensleeves to a Ground Anon 17th century Le Rossignol en Amour Francois Couperin (1668-1733) In 1693, Couperin was chosen by Louis XIV to replace one of the four organists of the Royal Chapel and following his success at court as a teacher and composer, he began to publish his works, beginning with the Premier Livre de Clavecin in 1713 and his treatise L'art de toucher le clavecin in 1716. Solo Harpsichord Minuet Minuet Sonata in C minor for oboe with viola da gamba and harpsichord continuo Much of Rameau's harpsichord and chamber music was composed early in his career, his first publication for harpsichord being the Premier livre de pieces de clavecin. J P Rameau (1683-1769) J Duphly (1715-1789) Adagio Allegro Antonio Vivaldi (1678-1741) Adagio Vivace

The son of a violinist in the orchestra at St Mark's Venice, Antonio Vivaldi was ordained priest in 1703. He taught at one of the Venetian conservatories, where he was eventually appointed "maestro di concerti", and it was for this institution that he composed much of his music. INTERVAL Music for two unaccompanied recorders Duo in C major G F Handel (1685-1759) Anon 18th century Largo and double The popularity of the recorder in the 18th century in England is reflected in the number of contemporary song sheets which included the melody transposed to a suitable key "for the flute". The publication of the Division Flute in 1706 resulted in the appearance of many airs with sets of divisions. Music for treble and bass viols with harpsichord Lachrimae Pavan John Dowland (1563-1626) Marin Marais (1656-1723) Louis de Caix d'Hervelois Deux Musettes Deux Tambourins The set of seven Lacrimae Pavans is undoubtedly the best- known work of the early 17th century English lutenist, John Dowland. Published c.1604, the work has a doleful quality which caught the imagination of many of Dowland's contemporaries - the opening descending phrase was often quoted by other composers. Though he composed a number of works for the stage, Marin Marais is now best remembered for instrumental composit- ions for his own instrument, the viol. Like Louis de Caix d'Hervelois, he was a pupil of Sieur de Sainte-Columbe. William Mathias (b.1934) Concertino for treble recorder, oboe, viola da gamba and harpsichord (1974) Born in Wales, William Mathias has written a considerable amount of music, having studied composition at the Royal Academy of Music with Lennox Berkeley. His works are

not considered as being 'avant garde', his attitude being more 'classical' with Mozart as his ideal. The appeal of his music is largely through the sheer beauty of its sound, an excellent example being the Harp Concerto (1970) which is indebted to the music of Britten and Tippett. GP Telemann (1681-1767) Trio Sonata in C minor for treble recorder and oboe with viola da gamba and harpsichord continuo. Largo - Vivace - Andante - Allegro The son of a clergyman, Telemann studied at Leipzig University where he founded a student society known as the Collegium Musicum. After several appointments as Kapellmeister, he was elected to the post of Musikdirector of the principal churches in Hamburg. Telemann was one of the most prolific composers of all has sometimes been criticised for its its rather facile charm. time, and his music lack of depth and TONIGHT'S ARTISTS The DOLMETSCH CONCERTANTE specialises in authentic interpretation of music from the 16th to 18th centuries. They frequently collaborate with other artists, enabling them to present a wide variety of programmes with a rich variety of tone colours, including the performance of works by modern composers. They have given concerts. for festivals, music societies and schools all over the country. THE * * * NEXT RECITAL SMETANA QUARTET Saturday 31 January 1981 Elmwood Hall, 7.30pm