THE BELFAST MUSIC SOCIETY C ELEBRITY CONCERTS 1990-91- AT THE ELMWOOD HALL

THE CAMBRIDGE MUSICK ROBERT EHRLICH (recorder), ANDREW MANZE (violin), MARK LEVY (viola da gamba) and RICHARD EGARR (harpsichord) ******** Trio Sonata in A Violin Sonata in A minor Recorder Sonata in G Trio Sonata in C minor John Blow (1649-1708) Antonio Vivaldi (1678-1741) Francesco Veracini (1690-1768) George Frederick Handel (1685-1759) Aria Quarta Fantasia Suite in G Divisions on a Ground Harpsichord Suite in E Sonata XI INTERVAL Mario Uccellini (c. 1603-1680) William Lawes (1602-1645) Christopher Simpson (c. 1605-1669) George Frederick Handel (1685-1759) Dario Castello (fl. 1620) ******** Saturday 6 April, 1991. at 7.30 pm Supported by the ARTS COUNCIL

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1 Trio Sonata in A major John Blow 1649-1708 The Nottinghamshire-born composer John Blow was one of the major names in English church music of the period. He was Master of the Chapel Royal and Composer 'for voyces in ordinary' to the King. The great Purcell, who studied with him for a time, described him as 'One of the Greatest Masters in the world'; well-meaning exaggeration, perhaps, but his music is attractive and well-written and was very influential in its day. It is his organ and choral music that is most often heard today, but he also composed much secular instrumental music. Both he and Purcell composed Italian-style trio sonatas for the 'English market. ' Violin Sonata in A minor Antonio Vivaldi 1678-1741 Vivaldi composed over 60 solo sonatas, of which two thirds are for the violin. An interesting aspect of the opus two sonatas, of which this is the twelfth (and last), is the manner in which they treat the bass-line as a separate voice, allowing it to take over motives from the violin part or add its own material. Recorder Sonata in G Major Francesco Maria Veracini 1690-1768 Born into a family of musicans and artists in Florence, Veracini was well known in his lifetime as a violinist and a composer. He appeared regularly in London; Burney remarked (in 1733) 'there is no concert now without a solo on the violin by Veracini,' though he also observed that his music was 'too wild and flighty for the taste of the English. Much of his music was for the voice, but he also published a quantity of instrumental music several sets of

2 sonatas for recorder (or violin) and continuo, and some concerti grossi. Trio Sonata in C minor George Frederick Handel 1685-1759 According to Christopher Hogwood, trio sonatas were a commercial venture rather than a musical necessity for Handel, and this can certainly be seen in the way he frequently borrowed movements from other works (something that is not by any means uncommon in his other music either). The optional scoring, another common characteristic of 18th century chamber music, also reflects an interest in the financial aspect, rather than in instrumental colouring. Thus the six sonatas of opus two were published in Amsterdam around 1731 for two violins, flutes or hoboys.' This C minor sonata is also known in a version in B minor. Aria Quarta INTERVAL Marco Uccellini c1603-1680 Uccellini was one of the most important composers of instrumental music in Italy in the mid 17th century. Seven printed collections of his music survive; at least one other is lost. His development of violin technique represents his most notable achievement; his violin works exploit the higher notes of the instrument, for example. His music is characterised by its frequent use of distant keys and colourful chromaticism. The Arias of the 1642 and 1645 collections are descendants of the older 'variation sonata'; their thematic material often includes popular tunes. 20

3 Fantasia Suite in G major William Lawes 1602-1645 A number of suites by Lawes is known, but musicologists consider that a great proportion of them (as is the case with other composers of the time, too) are compilations, not necessarily by Lawes himself, of movements from other works. Such suites were very popular, forming an important part of the music provided for private entertainments. Divisions on a Ground Christopher Simpson c 1605-1669 The art of improvising variations over a bass theme (ground) is described in some detail in a treatise by Diego Ortiz as early as 1533. A century later Christopher Simpson wrote his important book on the subject, 'The Division Violist' (1659). According to Simpson, the highest art of the gamba-player was that of improvising variations (divisions) in short notes over the longer notes of the bass line, but discretion was required; one should not outshine the other, though, he conceded, if one had 'anything more excellent than other' then it should be reserved 'for the Conclusion.' Harpsichord Suite in E major George Frederick Handel 1685-1759 Handel composed a large number of suites for keyboard. Of these, the best known is that in E, chiefly on account of the last of its four movements, a set of five variations on the melody he called 'The Harmonious Blacksmith.' It was published along with seven other suites in a set issued in November 1720. Handel wrote in his perface 'I have been obliged to publish some of the following lessons because

4 surrepticious and incorrect copies of them had got abroad.' Sonata XI Dario Castello f1 c 1620 Little is known of this composer, except that he is described as the leader of a wind band in Venice. His twenty nine surviving sonatas, which reveal him as working towards a genuine instrumental style, and are in a number of short sections, were published in two volumes, in 1621 and 1629. TONIGHT'S ARTISTS Acclaimed in the Dutch and English press as 'stunning' and 'one of the best ensembles of its kind,' The Cambridge Musick has a growing reputation as Britain's most exciting young ensemble playing baroque chamber music. Since its Wigmore Hall debut in January 1988 as winner of the Schott Emsemble Competition, the group has toured extensively for the British and Dutch Early Music Networks, as well as performing in Germany, Holland, Spain and Switzerland. The British Network tour was the largest ever, and the first to visit Ireland, with concerts in Dublin and Kilkenny. Other recent highlights have included International Festival appearances in Barcelona, Beverley, Oxford and Utrecht, as well as a recital in the chamber hall of the Berlin Philharmonic. Nearer home, the ensemble plays regularly at the Wigmore Hall and Purcell Room, and will give a recital at the prestigious 1991 Lufthansa Festival. The group has given numerous broadcasts for BBC radio and television and other European stations. Formed in 1983, when all its members were undergraduates of Cambridge University, the group was

5 awarded a major scholarship by the Dutch Government to study for a year in Amsterdam with leading exponents of baroque music including Gustav Leonhardt and Walter van Hauwe. The group's work led to success in several international competitions in 1987, including first prize in the Schott Ensemble Competition, three awards in the ensemble competition of the Dutch Early Music Foundation, and a place on the Warwick Arts Trust Young Artists' Platform, while members of the group went on to win top prizes in two of 1988's most prestigious competitions of historical instruments: the CPE Bach Anniversary Competition in Hamburg, and the recorder category of the ARD Munich International Competition. The ensemble's repertoire contains a rich variety of baroque chamber music, ranging from well-known works by Bach and Handel to pieces previously unperformed in modern times. NEXT RECITAL Artur Pizarro (piano) Saturday 11 May at 7:30 pm Elmwood Hall sponsored by the BELFAST CITY COUNCIL PRS GIVING MUSIC ITS DUE Representing music creators & publishers We are pleased to have the support of PRS

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