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Past programmes |
Kingston Parish Church, Kingston
Monday 21 February 2005 1.00 p.m.
| James Oswald | Leith Wynd |
| Nicola Matteis | Aria con divisioni |
| Handel | Music for the Royal Fireworks |
| John Taverner | Threnos |
| Mark Argent | Image |
| Mark Argent | Hymnus |
| Handel | Sonata in C for Recorder and continuo |
| James Oswald | Three scots tunes:
A rock and a wi pickle Jon
My aprone dearie The bonniest lass in a’ the world |
Saturday 5 February 2005 7.30 p.m.
| Handel | The Musick for the Royal Fireworks |
| Nicola Matteis | Aria con divisioni |
| James Oswald | Three scots tunes:
A rock and a wi pickle Jon
My aprone dearie The bonniest lass in a’ the world |
| Chedeville | Sonata I from Il Pastor Fido |
| John Tavener | Threnos |
| Mark Argent | Image I |
| Mark Argent | Hymnus |
| James Oswald | Leith Wynd (folksong arrangement) |
| J. S. Bach | Flute sonata in E minor |
| Handel | Recorder sonata in C major |
| Handel | Coronation anthem (Zadoc the priest) |
This programme is framed by eighteenth-century arrangements of two of Handel’s most celebrated works: the The Musick for the Royal Fireworks and the coronation anthem Zadoc the Priest, framing a selection of mostly baroque music for flute/recorder and cello, but including John Tavener’s exquisite Threnos for solo cello.
To modern eyes the Handel arrangements look surprising: these are large-scale works for important public occasions. But, where a modern audience might buy the CD of the music from a popular show or concert, their eighteenth-century counterparts bought transcriptions of that music, which they could play at home. Tonight’s concert shows how well these transcriptions could re-conjure the experience of these big occasions, in the context of domestic music-making.
Friday 16 July 2004 1.10 p.m.
| Hotteterre (pub) | 4 “Airs et Brunettes” |
| James Oswald | Three Scots folksong arrangements |
| Michel de Montéclair | Deuxiéme Concert |
With half an ear on Bastille Day — July 14th — this programme is mostly of music from 18th-century France, with a brief excursion to Scotland, drawing on the strong links between Scots and French culture in the 18th century.
Hotteterre’s volume of duets were probably intended for two flutes, but 18th-century practice was very flexible and the extra string of a 5-string cello creates some interesting possibilities. It was common for people to perform a selection of movements from large volumes, and we’ve chosen four numbers to make up the opening work in this programme. Likewise, we’ve selected three pieces in related keys from Oswald’s Collection of curious Scots tunes to make a folksong sonata.
Montéclair was active in church and theatre music. For the last thirty years of his life he was a double-bass player at the Opéra in Paris, so maybe it’s no surprise that he writes so well for a bass instrument and flute.
Wednesday 13 August 2003 9.00 p.m.
Part of the 2003 Cambridge Summer Music FestivalFire and earth
| Händel: | The Musick for the Royal Fireworks |
| Oswald: | ‘Leith Wynd’ |
| Matteis: | Aria con divisioni |
| Oswald: | three scots tunes:
‘A rock and a wi pickle Jon’,‘My aprone dearie’,‘The bonniest lass in a’ the world’ |
| Chédeville: | Sonata I from Il Pastor Fido |
| J. S. Bach: | Flute sonata in E minor |
| Händel: | Recorder sonata in C major |
| Händel: | Coronation anthem (Zadoc the priest) |
This late-night concert was framed by eighteenth-century arrangements of two of Handel’s best-known works — Zadoc the Priest, and the Fireworks music. Between then come a selection of works which are particularly well suited to the texture of flute and cello.
Friday 11 July 2003 1.10 p.m.
| J. S. Bach: | D minor toccata and fugue, arr. for solo cello |
| J. S. Bach: | Flute sonata in C major |
| J. S. Bach: | Selection of two-part inventions |
| J. S. Bach: | Flute sonata in E minor |
Bach’s sonatas for flute and continuo can work well with harpsichord continuo, but thinning the texture to just two instruments allows the interplay between the flute line and the bass line to come to the fore. Between these sonatas come another exploration of Bach’s two-part writing, based on inventions written for keyboard instruments.
Teddington, Middlesex, TW11 9NN
Sunday 1 June 2003 3.00 p.m.An afternoon with Bach
| J. S. Bach: | Flute sonata in C major |
| J. S. Bach: | A minor partita for solo flute |
| J. S. Bach: | D minor toccata and fugue, arr. for solo cello |
| J. S. Bach: | Suite No.1 for solo cello |
| J. S. Bach: | Selection of two-part inventions |
| J. S. Bach: | Flute sonata in E minor |
This concert mixes solo and duo textures. Among the solo works, the Toccata and Fugue is an arrangement based on a theory that, though best-known as an organ piece, this might originally have been for solo five-string cello.
In the solo works, most of the harmony is implied. Combining the two instruments for two flute sonatas and some two-part inventions allows more of the harmony to be clear, and creates a rich interchange between the two players.
Monday 8 July, 1.10 p.m.
| Händel: | Coronation anthem (Zadoc the priest) |
| Chédeville: | Sonata I from Il Pastor Fido |
| Oswald: | Leith Wynd |
| Matteis: | Aria con divisioni |
| Händel: | The Musick for the Royal Fireworks |
Repeat of the concert given on June 13th.
Thursday 13 June, 1.10 p.m.
| Händel: | Coronation anthem (Zadoc the priest) |
| Chédeville: | Sonata I from Il Pastor Fido |
| Oswald: | Leith Wynd |
| Matteis: | Aria con divisioni |
| Händel: | The Musick for the Royal Fireworks |
This programme, with a gentle nod to the Jubilee celebrations, is framed by eighteenth-century arrangements of two of Handel’s best-known works.
Between these come a selection of pieces chosen to exploit the texture of flute/recorder and cello from a selection of sonatas by the musette-player Nicolas Chédeville (long thought to have been by Vivaldi), a folksong arrangement by James Oswald, and an air by the very successful Italian violinist-composer Nicola Matteis.
Sunday January 6th 2002 at 3.00 p.m.| Mark Argent | Osterley Suite II*, for two recorders |
| Mark Argent | Song of the Beloved*, for tenor and small ensemble |
| Michael Summers | Carey Heath*, for two recorders |
| William Williams | Sonata in imitation of birds |
| Handel | Trio Sonata in F |
| McGibbon | Trio Sonata |
| J. S. Bach | Selection of arias for tenor, obbligato instruments and continuo |
| J. S. Bach | Chromatic Fantasy, BWV 903, for solo harpsichord |
| Telemann | Deines neune Bundes Gnade (cantata) for tenor, obbligato flute and continuo |
The works with asterisks(*) will be receiving their world premières.
In this concert Catch! were joined by the tenor Patrick Huang in a programme of Old and New vocal and instrumental music which started the new year on a high note. Telemann’s cantata Deines neune Bundes Gnade comes from his cycle of cantatas for the church year, while the trio sonatas explore the exciting sound of two flutes/recorders and continuo, ranging from William Williams’ vivid Sonata in imitation of birds to more abstract works. The new pieces, by Michael Summers and by the cellist in Catch!, are in an accessible style which appealed to people who like baroque music as well as to new music devotees.
Sunday July 22nd 2001 at 3.00 p.m.| Corelli: | Trio sonata Op Posth. No. 3 |
| Oswald: | The Heart’s Ease |
| F. J. Haydn: | London Trio, Hob. IV: 1 |
| Händel: | Extracts from Water Music |
| Oswald: | The Golden Rod |
| Barsanti: | Sonata Op 1 No 2 |
| Oswald: | The Golden Rod |
| McGibbon: | Sonata in imitation of Corelli |
This was a programme of music from Eighteenth-century London, exploring the fashion for music from Scotland, and the italianate music heard with it.
Monday July 2nd 2001 at 1.10 p.m.| Corelli: | Trio Sonata Op. posth No 3 |
| Oswald: | ‘The Heart’s Ease’, from Airs for the Seasons |
| Locatelli: | Sonata à Trè in E Major |
| Oswald: | ‘The golden rod’ from Airs for the Seasons |
| Tartini: | Trio sonata in F major |
| Oswald: | ‘The snow-drop’, from Airs for the Seasons |
| Helena Brown: | Improvisation on Adagio from Corelli Op.5 No.4 |
| McGibbon: | Sonata in imitation of Corelli |
This programme of Scottish and Italian music brought together music which would have been heard in 18th century Scotland. There were works by native composers, imports from Italy, and, bringing the two together, a scotsman writing in imitation of Corelli, and an improvisation in historic style.
Sunday June 24th 2001 at 4.30 p.m.| Corelli: | Trio sonata Op Posth. No. 3 |
| Oswald: | The Heart’s Ease |
| Locatelli: | Sonata à Trè in E Major |
| Händel: | Extracts from Water Music |
| Oswald: | The Golden Rod |
| Barsanti: | Sonata Op 1 No 2 |
| Tartini: | Trio Sonata in F Major |
| Oswald: | The Golden Rod |
| Helena Brown: | Improvisation on Adagio from Corelli’s Op 5 no 4 |
| McGibbon: | Sonata in imitation of Corelli |
This was a programme of music from Eighteenth-century London, exploring the fashion for music from Scotland, and the italianate music heard with it.
| J. J. Quantz: | Trio sonata in G minor |
| J. Oswald: | The Belvedere, (from Airs for the Seasons) |
| F. J. Haydn: | London Trio Hob IV: 1 |
| J. S. Bach: | Two sinfonias for organ, from BWV 792 |
| J. S. Bach: | Trio sonata, after Gamba sonata BWV 1028 |
This was a lunchtime concert presented by the St Anne & St Agnes Music Society. Besides familiar works, it included a transcription of the D major sonata for viola da gamba and obbligato harpsichord by J. S. Bach as a trio sonata for two flutes and continuo, prepared by Mark Argent, the cellist in Catch!
| G. P. Telemann: | Trio sonata in D Major |
| C. P. E. Bach: | Hamburger Sonata in G major Wq 133 |
| Mark Argent: | Song of a Wayfarer |
| Ho Wai On: | Sakura Variations |
| J. G. Graun: | Trio sonata for two flutes |
| Delius: | Dance |
| John Tavener: | Threnos |
| J. Oswald: | The Belvedere, (from Airs for the Seasons) |
| J. J. Quantz: | Trio sonata in G minor |
This programme includes two world premières -- of works by Ho Wai On and Mark Argent, which have been specially written for Catch, along with works by Delius and John Tavener, who is one of the most popular of modern British composers.
The baroque element of the programme includes a variety of solo and trio sonatas by more and less well known baroque masters.
| J. J. Quantz: | Trio sonata in G minor |
| C. P. E. Bach: | Hamburger Sonata in G major Wq 133 |
| G. P. Telemann: | Trio sonata in D Major |
| Hans Martin Linde: | Music for a bird (solo recorder) |
| John Tavener: | Threnos (solo cello) |
| D’Anglebert: | Fugue Grave (solo organ) |
| Lebègue: | Une Vierge Pucelle (solo organ) |
| F. J. Haydn: | London trio, Hob. IV: 1 |
| J. S. Bach: | Trio sonata in G major BWV 1039 |
This programme mixes trio sonatas with one sonata for flute and continuo (C. P. E. Bach ) and four solo works, two from the twentieth century (Hans Martin Linde and John Tavener) and two works from the seventeenth century which make particular use of the organ (D’Anglebert and Lebègue).
| J. J. Quantz: | Trio sonata for flute & recorder |
| J. S. Bach: | Prelude & Fugue in G major from the Well Tempered Clavier |
| F. J. Haydn: | London Trio, Hob. IV: 1 |
| J. S. Bach: | Trio sonata in G major BWV 1039 |
This was a 40 minute early evening concert, promotes by Robinson College Music Society.
| J. J. Quantz: | Trio Sonata, for recorder and flute |
| A. Vivaldi: | All’ombra di sospetto |
| G. Frescobaldi: | Libro Primo, Toccata Settima (solo harpsichord) |
| J. S. Bach: | Trio sonata, after Gamba sonata BWV 1028 |
| J. Oswald: | The Belvedere, (from Airs for the Seasons) |
| Mark Argent: | Image (for solo tenor recorder) |
| J. G. Graun: | Trio sonata for two flutes |
| J. Oswald: | The Night-shade, (from Airs for the Seasons) |
| G. F. Händel: | Let the Bright Seraphim, (from Samson) |
| J. S. Bach: | Shafe können sicher weiden, (from Was mir begacht) |
This was largely a repeat of the concert given on September 17th in Greyfriars, Oxford, using a harpsichord in place of the organ, and therefore with some small changes.
The guest artist for this concert was the soprano Janet Oates.
| J. L. Krebs: | Trio Sonata, in E minor |
| A. Vivaldi: | All’ombra di sospetto |
| J. J. Quantz: | Trio Sonata |
| J. S. Bach: | Trio sonata, after Gamba sonata BWV 1028 |
| J. Oswald: | The Belvedere, (from Airs for the Seasons) |
| J. S. Bach: | Duetto II (from Clavierübung III) |
| J. G. Graun: | Trio sonata for two flutes |
| J. Oswald: | The Night-shade, (from Airs for the Seasons) |
| G. F. Händel: | Let the Bright Seraphim, (from Samson) |
This was concert exploited the chamber organ built by William Drake for Greyfriars. The concert also included the first performance of two transcriptions by Mark Argent. One of these was of Handel’s Let the bright seraphim (originally for soprano, obbligato trumpet and strings), and of J. S. Bach’s sonata BWV 1028 for viola da gamba and obbligato harpsichord.
The guest artist for this concert was the soprano Janet Oates.
| J. L. Krebs: | Trio sonata in E minor |
| J. Oswald: | The Belvedere, (from Airs for the Seasons) |
| J. G. Graun: | Trio sonata in D major |
| J. Oswald: | The Marvel of Peru, (from Airs for the Seasons) |
| J. S. Bach:: | Trio sonata in G major BWV 1039 |
This was a lunchtime concert presented by the St Anne & St Agnes Music Society.
| J. C. Bach: | Trio |
| W. F. Bach: | Duet |
| C. Stamitz: | Trio |
| F. J. Haydn: | London Trio, Hob. IV: 3 |
| Mark Argent: | Osterley Suite I (for solo cello) |
| F. J. Haydn: | London Trio, Hob. IV: 4 |
This programme, given without harpsichord by three members of Catch! was promoted by the Friends of Osterley. It included the world première of Mark Argent’s Osterley Suite I
| J. L. Krebs: | Trio sonata in E minor |
| P. A. Thommessen: | The Blockbird, for solo recorder |
| J. M. Leclair: | Deuxième Récréation de Musique, Op 8 |
| F. J. Haydn: | London Trio, Hob. IV: 1 |
| B. Martinu: | Deux Impromptus, for solo harpsichord |
| J. S. Bach: | Trio sonata in G major BWV 1039 |
This was the debut concert for Catch!, and brought together baroque music with modern music, and works for a variety of instrumental combinations available from within the ensemble. This also began our association with Campion House, who have been very encouraging and supportive to Catch!
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