The Telling: Into the Melting Pot

Into the Melting Pot
The Telling
Anvil Arts – The
Haymarket, Basingstoke. 6 February 2024

Into the Melting Pot is described as a “concert-play”. It involved an actor (Clara Perez) presenting the story (written by Clare Norburn) of a Jewish woman (Blanca) living in Spain in 1492 on the eve of the expulsion of the Jews. Bianca’s story is interspersed with music, performed by The Telling, which combined traditional Sephardic, Andalusian and Arabic songs with music from manuscripts from a couple of centuries earlier. It made for a fascinating evening combining history and music.

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Strozzi: Il primo libro de madrigali 1644

Songs from a Beautiful Mouth
Barbara Strozzi: Il primo libro de madrigali (1644)
Solomon’s Knot
Wigmore Hall, 4 Fenruary 2024

Solomon’s Knot has built an impressive reputation for its innovative approach to performing early music. Singing from memory, they incorporate subtle and very personal theatrical elements into their performances, whether bringing to life the individual characters in a Bach Passion or, as in this performance, stringing together a sequence of 17th-century madrigals into a believable storyline. The focus of this concert was the 1664 Il primo libro de madrigali the first publication by the extraordinary Barbara Strozzi (1619-1677), a Venetian composer who had been a teenage pupil of Cavalli. The madrigals, in a variety of styles, set texts by her father, the poet Giulio Strozzi. He had nurtured her musical career from an early age, helped by the elevated social and cultural circles in which her family moved.

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The Mozartists. 1774 – A Retrospective

MOZART 250
1774 – A Retrospective
The Mozartists, Ian Page
18 January 2014

Zimmermann: Symphony in E minor
Gluck: “Par un père cruel” and “Jupiter, lance la foudre” from Iphigénie en Aulide
Anfossi: “Care pupile belle” from La finta giardiniera (UK première)
Salieri: “Sperar il caro porto” from La calamita de’ cuori (UK première)
Mozart: “Ergo interest… Quaere superna” K. 143
Mysliveček: “Pace e calma in questo segno” from Artaserse (UK première)
Mozart: Symphony No. 29 in A, K. 201
Gluck: Scene from Act 3 of Orphée et Euridice

The Mozartists‘ monumental MOZART 250 project has now reached its 10th year with an exploration of the year 1774 and the opening programme of their 2014 season. Continuing the pioneering work of Ian Page’s Classical Opera (which I first reviewed in 1998), the renamed Mozartists started MOZART 250 in 2015, the 250th anniversary of Mozart’s childhood visit to London. The project will follow his musical journey up to the year 2041, the 250th anniversary of his death.

As usual, the opening programme of the annual series places Mozart’s music in its wider musical context. Their programme “1774 – A Retrospective” gives an overview of the musical world 250 years ago when Mozart turned 18. Alongside two pieces by the young Mozart (“Ergo interest… Quaere superna” K143 and Symphony No. 29 in A, K201) were an extended scene from the Paris version of Gluck’s setting of the Orpheus legend and three UK premieres. The inclusion of premier performances is a subplot of the MOZART 250 series. Ian Page plans to include at least 100 such compositions during the project and after the first ten years, is already approaching 50.

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Bath Festival Orchestra

Louise Farrenc, Berlioz, Poulenc
Bath Festival Orchestra
Peter Manning conductor, Dana Zemtsov viola

Queen Elizabeth Hall, 14 January 2024

Louise Farrenc: Overture No.1 in E minor
Berlioz: Harold en Italie
Poulenc: Sinfonietta

My usual reviewing is in early music, so it was a surprise to be invited to review a concert of Louise Ferrenc, Berlioz and Poulenc by the Bath Festival Orchestra. The orchestra and some of the music were not familiar to me, so it was a chance to broaden my knowledge of the repertoire and our regional orchestras. And I’m glad I did. It was a well-planned and performed all-French programme contrasting two compositions from the same year of 1834 with a later contribution from 1947.

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Byrd 1589: Songs of sundrie natures

Byrd 1589: Songs of sundrie natures
Alamire, Fretwork, David Skinner
Inventa INV1011. 2 CDs. 53’18+69’19=122’37


Following their 2021 recording of Byrd’s first song collection, the 1588 Psalmes, Sonets & Songs of sadnes and pietie (reviewed here), Alamire and Fretwork turn to what Byrd described as the result of his being “encouraged thereby, to take further paines therein, and to make the pertaker thereof, because I would shew my selfe gratefull to thee for thy loue, and desirous to delight thee with varietie, whereof (in my opinion) no Science is more plentifully adorned then Musicke“. The ensuing 1589 collection “Songs of sundrie natures” was intended “to serue for all companies and voyces: whereof some are easie and plaine to sing, [while] other more hard and dificult“. It is divided into songs of 3, 4, 5 and 6 parts and offers a wide choice of music for a wide range of musical abilities – a sensible financial arrangement, no doubt.

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Irlandiani: Smock Alley

Irlandiani: Smock Alley
CD launch concert: Sands Music Room, Rotherhithe, Thursday 14 September 2023
Carina Drury & Poppy Walshaw, cellos, John-Henry Baker, violone, percussion
CD: First Hand Records, FHR144
plus Nathaniel Mander, harpsichord, Eimear McGeown, Irish flute


Following her earlier CD, Irlandiani (reviewed here) comes this latest recording from cellist Carina Drury and her collective group, also called Irlandiani. It is based on the musical life in and around the Smock Alley Theatre in 18th century Dublin. It features cello duos in the Galant style by the Neapolitan composer Tomasso Giordani who moved to Dublin in 1763 as musical director at the Smock Alley Theatre. As well as arrangements of 18th-century Irish melodies by musicians linked with the Smock Alley Theatre and its surrounds, the launch concert and recording also features music by Roseingrave, Scarlatti and Geminiani and a new piece by Carina Drury based on the Irish air Caoineadh Na Dtri Muire. If you are quick and live close enough, you can even catch the third of the laun

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Handel’s Attick: Music For Solo Clavichord

Handel’s Attick: Music for Solo Clavichord
Julian Perkins, clavichords
Music by Arne, Ebner, Froberger, Handel, Kerll, D Scarlatti, Weckmann and Zachow

Deux-Elles DXL 1191. 75’33


This excellent recording from Julian Perkins is based on a story from Handel’s childhood, as told by John Mainwaring in his 1760 Memoirs of the Life of Handel. His father, suspicious of his musical interests, tried to stop him from playing any musical instruments at home. This led to Handel smuggling a tiny clavichord into the attic of their house so that he could practice at night, having “found means to get a little clavichord privately convey’d to a room at the top of the house“.

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Laus Polyphoniae 2023, Antwerp

Laus Polyphoniae 2023
Antwerp. Townscape – Soundscape

Antwerp
18 – 22 August 2023

As the name implies, Antwerp’s annual Laus Polyphoniae festival is devoted to the music of the late Middle Ages and the Renaissance, a time when polyphony was paramount. Under the title of Antwerp: Townscape – Soundscape this year’s festival asked the question: “What did Antwerp sound like in the 15th and 16th centuries”? Alongside the shouting in the streets and markets and the dockland sounds, what music sounded in the churches and city palaces during Antwerp’s heyday?

Antwerp experienced an unprecedented economic and cultural boom in the late 15th and 16th centuries. The city was an international metropolis. Goods from all over the world were traded by merchant families who amassed large fortunes. Music was played in many places in the bustling city, from grand churches to private homes. The best singing masters were recruited to compose music for the liturgy. Publishers printed music for those who made music at home. Antwerp was also a centre of printing. Printers such as Phalesius and Plantin were renowned for the high quality of their music publications and surviving prints mean that music can still be performed. Several concerts during the festival were dedicated to these Antwerp music prints. 

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Laus Polyphoniae: International Young Artists Presentation, Antwerp

International Young Artists Presentation
Laus Polyphoniae 2023
AMUZ Antwerp, 19 August 2023

The International Young Artists Presentation (IYAP) is an annual coaching programme run by the Musica Impulscentrum (Musica Impulse Centre) and AMUZ (Flanders Festival Antwerp), during the Laus Polyphoniae festival (reviewed here). On the first Saturday of Laus Polyphoniae, after three days of coaching by Peter Van Heyghen and Raquel Andueza, six selected young vocal and instrumental early music ensembles present themselves to a public audience in the AMUZ concert hall, which includes potentially useful members of the wider music industry, including concert promoters – and reviewers. The focus of the coaching is on presentation, the story the ensembles want to tell, the structure of their programme and their interaction with the audience. The six ensembles chosen this year were Vestigium Ensemble, Contre le Temps, Liane Sadler & Elias Conrad, Duo Yamane, Rubens Rosa, and Apollo’s Cabinet.

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Bach: Harpsichord Concertos

J S Bach: Harpsichord Concertos
BWV 1052, 1054, 1055 & 1059
Steven Devine, Orchestra of the Age of Enlightenment
Resonus RES 10318. 63’30

This very welcome addition to the world of Bach recordings features three well-known harpsichord concertos plus what is, in effect, an entirely new concerto. Steven Devine’s programme essay sets out the often complicated history of the music played. The manuscript of these concertos is in Bach’s own hand. It contains seven concertos and nine bars of a D minor concerto, BWV 1059. There is strong evidence that only the first six concertos were intended as a set, with Bach’s traditional sign-off (Finis. S. D. Gl.) appearing at the end of the sixth concerto. The following BWV 1058 seems to have been an unsuccessful attempt at converting a violin concerto into a harpsichord concerto. The few bars of a D minor concerto (given the BWV number of 1059 despite its brevity) are of particular interest in this recording.

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Programme notes: Byrd’s World

Mayfair Organ Concerts
St George’s, Hanover Square, 1 August 2023

“Byrd’s World”
William Byrd’s 400th anniversary
Andrew Benson-Wilson

Antonio de Cabezón (1510–1566) Tiento del Primer Tono
Thomas Tallis (c1505-85) Ecce tempus idoneum
William Byrd (1540–1623) Praeludium to the Fancie BK12 – Fantasia BK13
Giovanni Gabrieli (1557–1612) Toccata (C237)
Hieronymus Praetorius (1560-1629) Magnificat Septimi Toni
Jan Pieterszoon Sweelinck (1562–1621) Fantasia à 3 SwWV 271
Jehan Titelouze (1562–1633) Conditor alme siderum (3v)

This is the second of two recitals celebrating the 400th anniversary of the death of William Byrd on 6 July 1623. The first was on the historic organ in Christ’s Chapel of God’s Gift in Dulwich and featured music by Byrd and Bull. This recital contrasts one of Byrd’s most imaginative and adventurous Fantasias with music by his contemporaries in Spain, England, Italy, Germany, The Netherlands, and France.

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‘Byrd’s World’. St George’s, Hanover Square. 1 August 2023

Mayfair Organ Concerts
St George’s, Hanover Square
Tuesday 1 August 2023, 1.10pm

Byrd’s World
Andrew Benson-Wilson

This is the second of two commemoration organ recitals for the 400th anniversary of the death of William Byrd (1540-1623). This one is in St George’s Hanover Square on Tuesday 1 August at 1.10pm. With the title of Byrd’s World, it will contrast one of Byrd’s most imaginative and adventurous pieces with music by some of his contemporaries. These will include Antonio de Cabezón, court organist to the Hapsburg Philip of Spain, who the young Byrd may have heard playing during the 1554 wedding of Philip with Queen Mary, Byrd’s teacher, Tallis, and composers from Italy, Germany, the Netherlands and France.

Antonio de Cabezón (1510–1566) Tiento del Primer Tono

Thomas Tallis (c1505-85) Ecce tempus idoneum

William Byrd (1540–1623)
Praeludium to the Fancie & Fantasia

Giovanni Gabrieli (1557–1612) Toccata a 4)

Heironymus Praetorius (1560-1629) Magnificat Septimi Toni

Jan Pieterszoon Sweelinck (1562–1621) Fantasia

Jehan Titelouze (1562–1633) Conditor alme siderum

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Sietze de Vries: Bach’s Missing Pages

Bach’s Missing Pages: An Expanded Orgelbüchlein
Sietze de Vries, organ
Fugue State Films
. DVD (223′) & 2CDs (73’+68′)

Hot on the heels of the extended, and now completed, Orgelbüchlein Project (which commissioned 118 new pieces to complete the chorales that Bach did not compose), comes this offering from Fugue State Films and Sietze de Vries. Over seven c30′ films (on one DVD) and two related CDs (which contain all the music from the films), Sietze de Vries plays all of the 45 chorales of Bach’s Orgelbüchlein. He then plays his own improvised chorale preludes in the style of Bach, using 45 of the 118 chorale melodies that Bach left titles for, but didn’t compose. In the videos, alongside his improvisations, he explores the philosophy of improvisation and shows how to improvise in the style of Bach, using the important historic organs in the Martinikerk, Groningen and the Petruskerk, Leens, both tucked away in the top right-hand corner of The Netherlands.

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Programme notes: William Byrd

Christ’s Chapel of Alleyn’s College of God’s Gift
Sunday 9 July 2023
Andrew Benson-Wilson
plays music by
William Byrd (c1540-1623)


The sixte pavian Kinbrugh Goodd – The galliarde to the same BK32
Coranto BK21a
A Grounde BK9
Wolsey’s Wylde BK37
Fancy (Salve Regina?) BK46
Clarifica me Pater in three & four parts BK48/49
John Bull (1562-1628) Salve Regina Misere Cordi
(Salve Regina – Ad te Clamamas – Eia ergo – O Clemens – O dulcis virgo Maria)

This is the first of two related recitals celebrating the 400th anniversary of William Byrd, who died 400 years ago on 6 July 1623. This recital focuses on Byrd’s music in its different guises and genres, concluding with a piece by John Bull. ‘Byrd’s World’, on Tuesday 1 August in St George’s, Hanover Square at 1:10, will set two of Byrd’s finest keyboard pieces in the context of music of other composers of the time.

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AAM: ‘Tis Nature’s Voice

‘Tis Nature’s Voice
Academy of Ancient Music
Bojan Čičić, Laurence Cummings
Barbican Hall, 30 June 2023


Mendelssohn: Hebrides Overture Op.26;
Violin Concerto in E minor, Op. 64
Beethoven: Symphony No. 6 ‘Pastoral’

The Academy of Ancient Music concluded its 2022/3 season, ‘Tis Nature’s Voice, with a venture into the early Romantic era, a suitable continuation of the theme of their opening concert, Hadyn’s The Seasons. They promised “thunderstorms, sea spray, nightingales and country dances and other beauties of nature as interpreted romantic style”. For those not used to music of the romantic era played on period instruments, this must have been a revelation. Indeed, it might also have been a revelation for some in the AAM as most of their repertoire stops before Mendelssohn and Beethoven.

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Tallis Scholars: Spem in alium

“Spem in alium”
The Tallis Scholars, Peter Phillips
Cadogan Hall, 20 June 2023

Sheppard: Media vita
White: Regina caeli; Domine quis habitabit III
Byrd: Ad Dominum cum tribularer
Taverner: Magnificat a 6
Tallis: Spem in alium

The last time I reviewed The Tallis Scholars at the Cadogan Hall was in June 2022 when they presented a programme with the title of Spem in alium. They have now returned to Cadogan Hall for a two-night sell-out concert with the title of … er … Spem in alium! In contrast to last year’s all-Tallis programme, this time said Spem in alium concluded a concert of large-scale English vocal pieces from Tallis’s time by Sheppard, White, Tavener and Byrd, whose 400th anniversary is this year.

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František Tůma: Te Deum

Tůma: Te Deum
Czech Ensemble Baroque, Roman Válek

Supraphon SU 4315-2. 54’11


Te Deum (1745)
Sinfonia ex C (1770s?)
Missa Veni Pater pauperum (1736)

This is a very welcome recording of music by František Ignác Antonín Tůma (1704-1774), a little-known composer outside of the Czech Republic. He was born in Bohemia-born and was active during the transitional period between the Baroque and the Galant and Classical eras. After early studies in Prague, he spent most of the rest of his life in Vienna, initially as Kapellmeister for Count Kinsky, the High Chancellor of Bohemia, who encouraged him to study with Johann Joseph Fux, the influential theorist who also influenced Haydn, Mozart and Beethoven. After Kinsky’s death, he became Kapellmeister to the dowager Empress, the widow of Charles VI. In addition to his composing activities, he was also an organist, bass gambist and theorbist

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OAE: Mozart in Basingstoke

Mozart in Basingstoke
Orchestra of the Age of Enlightenment
Kati Debretzeni, Luise Buchberger
The Anvil, Basingstoke. 20 May 2023


CPE Bach Symphony in F
Mozart Symphony no 34
JC Bach Sinfonia concertante for violin and cello
CPE Bach Symphony in B minor
Mozart Music from Don Giovanni
Gluck Dance of the Furies

A short tour of related programmes saw the Orchestra of the Age of Enlightenment visit Birmingham Town Hall, London’s Queen Elizabeth Hall, and Basingstoke’s Anvil. Alongside the Mozart Symphony No 34, the CPE Bach Symphony in F, and the JC Bach Sinfonia concertante for violin and cello, common to all three, the Basingstoke concert added CPE Bach’s Symphony in B minor, extracts from Mozart’s Don Giovanni and Gluck’s Dance of the Furies. Travel was the key to the choice of composers – they all left their hometowns to develop their own musical language. They also contributed in various ways to the musical developments during the extended transition into the classical era.

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La Grande Chapelle

London Festival of Baroque Music
Music for the Planet King’
La Grande Chapelle

St John’s, Smith Square, 12 May 2023


The London Festival of Baroque Music has been an annual fixture at St John’s, Smith Square for several decades, including its earlier time as the Lufthansa Festival. It is good that it has survived the Covid years and the changes at that venue, not least the takeover by the Southbank Sinfonia. Rather than the independent management team that has been behind the festival in the past, it now seems as though it is being run by the new team at St John’s, Smith Square itself. Perhaps inevitably, given the changes and the current situation in UK arts, there was a reduction in the events on offer for this year’s offering, but the programme did include some of the international contributions that have been a feature of the festival over the years.

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Academy of Ancient Music: Il Trionfo del Tempo

’Tis Nature’s Voice
Handel: Il Trionfo del Tempo e del Disinganno (HWV46a)
Academy of Ancient Music, Laurence Cummings 
Milton Court, 11 May 2023


Il Trionfo del Tempo e del Disinganno was Handel’s first oratorio. It was composed a year after his 1707 arrival in Italy after three years in Hamburg where he exchanged his early career as a cathedral organist (in Halle) to that of a fledgling opera composer. He quickly fell in with an influential group of patrons in Rome, including Cardinal Pamphili who provided the libretto for Il Trionfo del Tempo e del Disinganno. Usually translated as The Triumph of Time and Disillusion, the alternative option of Time and Enlightenment was used for this excellent performance from the Academy of Ancient Music.

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Bach: A Cembalo Certato E Violino Solo

A Cembalo Certato E Violino Solo
Bach: Complete Sonatas for obligato harpsichord and violin, plus 
Sonatas by CPE Bach, Graun, Schaffrath, Scheibe, Telemann

Phillipe Grisvard, Johannes Pramsohler
Audax Records. ADX 13783. 3CDS. 60’28, 73’10,75’07


Johann Sebastian Bach: Complete Sonatas for Harpsichord and Violin
BWV 1014–1019, BWV 1022, BWV 1020
Johann Adolph Scheibe: 3 Sonatas for Violin and Harpsichord
Christoph Schaffrath: Concerto in A Minor CSWV F:30
Carl Philipp Emanuel Bach: Sonata in B Minor, Wq 76
Johann Gottlieb Graun: Sonata in B-flat Major GWV Av:XV:46
Georg Philipp Telemann: Concerto in D Major, TWV 42:D6

This 3-CD package sets Bach’s Sei Sonate a Cembalo certato e Violino solo (together with two others whose authenticity is questioned) against similar pieces by other composers of Bach’s time, several of which are world premiere recordings. Each CD is a complete concert in itself, with two or three of the Bach Sonatas, a Sonata by Johann Adolph Scheibe plus related pieces by Georg Philipp Telemann & Christoph Schaffrath (CD1), Johann Gottlieb Graun (CD2), and Carl Philipp Emanuel Bach (CD3).

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William Byrd. Dulwich: College of God’s Gift. 9 July 2023.

The Chapel of Christ of Alleyn’s College of God’s Gift
Gallery Road, Dulwich, SE21 7AD

Sunday 9 July 2023, 7.45


Andrew Benson-Wilson plays William Byrd (d 6 July 1623)

As part of the 400th anniversary of the death of William Byrd (“Father of British Music”), Andrew Benson-Wilson will give two commemoration organ recitals. The first is in the delightful venue of The Chapel of Christ of Alleyn’s College of God’s Gift in Dulwich Village on Sunday 9 July 2023 at 7.45. It will feature a range of Byrd’s own keyboard music and will finish with the elaborate Salve Regina Misere Cordi by John Bull, probably composed when he was organist of Antwerp Cathedral. The Dulwich recital is played on the 2009 William Drake restoration of the 1750 George England organ. Organ details can be found here.

The sixte pavian Kinbrugh Goodd – The galliarde to the same
Coranto
A Grounde
Wolsey’s Wylde
Fancy (Salve Regina?)
Clarifica me Pater in three & four parts
John Bull (1562-1628) Salve Regina Misere Cordi

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Programme Notes: “A Farewell to Mr Handel’s organ”

The Handel Friends
St George’s Hanover Square
Tuesday 25 April 2023

A Farewell to Mr Handel’s organ”
A Handel recital on the 1998 Goetze & Gwynn chamber organ
and the 2012 Richards Fowkes & Co organ

Andrew Benson-Wilson

Allemande – Courante – Air and Variations
(HWV 428, from Suite in D minor, Eight Great Suites, 1720)

A Voluntary on a Flight of Angels
(HWV 600, ‘Ten Tunes for Clay’s Musical Clock’, c1735)
Fugue in A minor
(HWV 609, ‘Six Fugues or Voluntarys for the Organ’, 1735)
Menuet
(HWV 350, ‘The Celebrated Water Musick Set for the Harpsicord’, 1743)

Organ Concerto VI in G minor
Largo e Affettuoso – A tempo Giusto – Musette – Allegro – Allegro
(HWV 300, Second Set of Six Concertos, c1740)

* * *
Voluntary III Slow – Cornet
Voluntary V Largo – Trumpet & Echo
(From Twelve Voluntaries, 1776)

Organ Concerto in G in Alexander’s Feast
Larghetto – Allegro – Adagio – Andante
(HWV 289, Opus 4/1, 1738)

Chaconne in G
(HWV 435, Eight Great Suites, 1720)


The Goetze & Gwynn chamber organ was commissioned by the Handel House Trust. It is based on a larger surviving 1749 organ that Thomas Parker built for Charles Jennens, the Messiah librettist, with a specification suggested by Handel. It was intended for the Handel House Museum but was too large for the space available at the time. It has since lived in St George’s Hanover Square. As part of the Hallelujah Project of what is now known as the Handel & Hendrix in London, the organ will move into Handel House in May. In the first half of this recital, we explore how Handel’s music might have been played at the time on a chamber organ, as revealed by 18th-century publications of his keyboard music.

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A farewell to Mr Handel’s organ

The Handel Friends
“A farewell to Mr Handel’s organ
A recital on the Handel chamber organ
before its move to The Handel House Museum
Andrew Benson-Wilson
St George’s, Hanover Square, Tuesday 25 April 2023, 7pm

The Handel chamber organ was made in 1998 by Goetze & Gwynn for the Handel House Trust. They opened the Handel House Museum in 2001 in Handel’s own house at 25 Brook Street, his home for the last 36 years of his life. As the Handel organ was too large for the limited space available at the time, it has lived in St George’s Hanover Square, Handel’s nearby parish church. As part of the Hallelujah Project, which will enlarge the space of the museum and add the flat next door where Jimi Hendrix lived in the 1960s, the chamber organ is being moved into Handel House in May. The organ is based on the chamber organs of Richard Bridge and Thomas Parker, who built the organ which belonged to Charles Jennens, the librettist of Messiah, which still exists close to its original condition.

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Bach: Music for alto

Bach: Music for alto
Barnaby Smith, Katie Jeffries-Harris

The Illyria Consort, Bojan Cičić
VOCES8 VCM152
. 72’16


Bach composed some of his finest music for the alto voice. This recording from countertenor Barnaby Smith and Bojan Čičić’s Illyria Consort features two of the best-known alto cantatas, Ich habe genug (BWV 82) and Vergnügte Ruh, Beliebte Seelenlust (BWV 170) alongside a wide selection of Bach’s other pieces for alto from the Matthew and St John Passions, the Mass in B minor, the Easter Oratorio and, on the digital version, the Christmas Oratorio. The music is arranged in a cycle moving from Candlemas, through the Passion to the Resurrection.

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Fugue State Films: Bach and Expression

Bach and Expression
Fugue State Films: Organ Cinema

Film documentary.


Will Fraser’s Fugue State Films have built an impressive reputation for producing high-quality film documentaries on the world of organ music. Originally available in sumptuous box sets of DVDs and CDs and illustrative booklets, they have since expanded into digital access for their film. In the light of changing aspects of access to recorded content and the increase in streaming media, Fugue State Films, in conjunction with the Royal College of Organists have just announced an important new initiative, Organ Cinema. To celebrate and promote the launch, they are allowing free access to all their film documentaries for three days over this weekend, Friday 31 March to Monday 3 April. After that, a range of subscription options will be available.

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The Chevalier

The Chevalier
The life and music of Joseph Bologne, Chevalier de Saint-Georges
London Philharmonic Orchestra, Concert Threatre Works

St Martin-in-the-Fields. 21 March 2023


The composer Joseph Bologne, Chevalier de Saint-Georges (1745-1799) has been having a well-deserved resurgence in recent years with several performances of his music, generally from period instrument orchestras. This “unique piece of concert theatre” from Bill Barclay’s Concert Theatre Works at St Martin-in-the-Fields contrasted episodes from Bologne’s eventful life with extracts from his music from the London Philharmonic Orchestra, directed by Matthew Kofi Waldren, with Braimah Kanneh-Mason as the violin soloist. The very sparse programme note was nothing more than an advertising flyer (view here) and gave precious little information. It did bill it as a “concert version”, although it looked pretty well staged to me. I gather it was a reduced version of a show that was commissioned by the Boston Symphony Orchestra, premiered and toured in the USA and was first performed in the UK at the Snape Maltings on 19 March.

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OAE: Bach B Minor Mass

Bach in Excelsis
Bach B Minor Mass
Orchestra of the Age of Enlightenment, Václav Luks
Royal Festival Hall, 19 March 2023


Making his debut with the Orchestra of the Age of Enlightenment and the Royal Festival Hall, Czech harpsichordist Vaclav Luks presented what was advertised as a “chamber interpretation” of Bach’s Mass in B Minor, “based on his study of the performance practices of recent decades”. Vaclav Luks is best known for his orchestra and vocal consort Collegium 1704 and his championing of the Czech composer Zelenka. I have only heard him conduct his orchestra once before, in Leipzig in 2015 when Collegium 1704 was the orchestra in residence (whole festival review here). His excitement at this RFH booking was evident, not least bringing his own score onto the podium several minutes before the start (a ritual usually undertaken by an underling), peeping out from the stage entrance and snapping a mobile phone photo of the audience. Of course, a conductor only sees the audience as he walks on and at the end, so I can fully understand his wanting a preliminary peep.

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Programme notes: Bõhm & Bach

Mayfair Organ Concerts
The Grosvenor Chapel, Mayfair

Tuesday 21 March 2023


Andrew Benson-Wilson
plays music by
Bõhm & Bach

Bõhm. Partita: Freu dich sehr, o meine Seele
Trio: Freu dich sehr, o meine Seele
Bach. Fantasia pro Organo a 5 Vocum BWV 562i
Bõhm. Vater unser Im Himmelreich
Bach. Praeludium con Fuga in c BWV 546

This special Early Music Day concert contrasts two of Bach’s most powerful organ works with the music of one of his earliest influences. When he was 15, Bach became a student at the Michaelisschule in Lüneburg. Georg Böhm (1661-1733) had recently been appointed organist of the nearby Johanniskirche, the principal town church with its 1553 Hendrik Niehoff organ. The young Bach certainly knew Bõhm, and may have been a pupil of his – one of the earliest Bach manuscripts is a copy of a piece by Reinken that Bõhm owned.

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