Beyond the Spanish Golden Age - lfbm.org.uk...George Frideric Handel Trio Sonata in G minor, Op. 5 No. 5 Arcangelo Corelli Trio Sonata in G minor, Op. 4 No. 2 George Frideric Handel

Beyond the Spanish Golden Age–9 - 23 May 2020–St John’s Smith SquareWestminster AbbeyGrosvenor ChapelSt Anne & St Agnes Church–www.lfbm.org.uk–Richard HeasonArtistic Director

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Contents

Saturday 9 MayBach – The 48 / Bach – The 48 4

Sunday 10 MayBach – The 48 / Bach – The 48 5

Monday 11 MayWhen in Rome – when Handel met Corelli 6

Wednesday 13 MayLFBM Academy 7

Thursday 14 MayThe Enlightened Violin: Music for the House of Alba 8

Friday 15 MayMadrid 1700 9Tonos Humanos 10

Saturday 16 MayThe Spanish Guitar from 1500 to 1700 11Juan Hidalgo: Music for the Planet King 12

Sunday 17 MayChiaroscuro, Lights and Shadows of Spanish Baroque 13Handel – Ariodante 14

Monday 18 MayDuetti da Camera – Handel & his Contemporaries 16

Tuesday 19 MayMonteverdi – Vespers (1610) 18

Wednesday 20 MayPerpetual Night 19

Thursday 21 MayBreaking the Canon / A Musical Offering 20

Friday 22 MayVivaldi – Gloria, RV589 21Contented Rest 22

Saturday 23 MayBach – Mass in B minor 23

Festival Friends 24

Venues 25

Booking information 26

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The London Festival of Baroque Music is

the much anticipated and celebrated annual

highlight of our Early Music programme

at St John’s Smith Square. Once again, we

look across Europe for our inspiration with

a host of visiting artists and ensembles and

this year we are particularly excited to be

exploring Spanish repertoire in depth. We

welcome back many old friends but, as has

become the hallmark of the LFBM, we are

also proud to feature many fabulous artists

making their UK debuts within the Festival.

This, the 37th London Festival of Baroque

Music, shines a spotlight on Spain with

six concerts in the Festival devoted to

sacred and secular Spanish Baroque music

including repertoire from the Royal Court

alongside that of the theatres of Madrid

with solo and ensemble music, songs, dance

and liturgy. Although Spain occupies a

focus in the Festival, there is also a wealth of

music from the wider Baroque repertoire.

A new addition to the Festival this year

is the creation of our LFBM Academy.

Margaret Faultless will be leading a brand

new project to bring the best young baroque

musicians together from around the world

for three intensive days of workshops and

rehearsals, culminating in our first LFBM

Academy concert on 13th May.

Our goal is always to bring distinctive

programmes of the highest quality to the

Festival. We also aim to keep the Festival

affordable and to offer a range of different

ticket options. The income from ticket sales

is not sufficient to cover the festival’s costs

which is why the amazing support of our

Festival Friends is so crucial. Please consider

joining the Friends of the London Festival

of Baroque Music and help ensure we can

continue to offer the best of Baroque.

I look forward to welcoming you to the

Festival as we explore our musical journey

Beyond the Spanish Golden Age.

Richard Heason

Artistic Director

Artistic Director,Richard Heason

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‘Beyond the Spanish Golden Age has been made possible through the generous support of the Cervantes Institute London, the National Centre for the Promotion of Music (CNDM) in Madrid as part of the Europa Project and the Embassy of Spain in London.’

Saturday 9 May

St John’s Smith Square3.00pm

Bach – The 48


Bach – The 48

Sunday 10 May

4 5

Steven Devine harpsichord–

Johann Sebastian Bach The Well-Tempered Clavier, Book 1 Part 1







The Well-Tempered Clavier is a collection of forty-eight Preludes and Fugues in two parts – each part containing a pair of pieces in every key. Often described as a pinnacle of Western Art and one of the greatest collections of keyboard music in the repertoire, these pieces have been studied, practiced, performed and revered by musicians since they were written in the first half of the eighteenth century.

Award winning harpsichordist Steven Devine offers us a rare chance to hear the complete collection over four concerts. He has recorded the work for Resonus – Book 1 was released last year and Book 2 is due for release early in 2020.

stevendevine.com

Tickets £15 for each concert OR £40 for thecomplete cycle of four concerts (reserved seating)


Bach – The 48


Bach – The 48

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Monday 11 May Wednesday 13 May


LFBM Academy

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Grosvenor Chapel7.30pm

When in Rome –when Handel met Corelli

The Brook Street Band–

Arcangelo Corelli Trio Sonata in Bb major, Op. 1 No. 5George Frideric Handel Trio Sonata in G minor, Op. 5 No. 5

Arcangelo Corelli Trio Sonata in G minor, Op. 4 No. 2George Frideric Handel Trio Sonata in Bb major Op. 2 No. 3

Arcangelo Corelli Trio Sonata in G major, Op. 2 No. 12George Frideric Handel Violin Sonata in G major, HWV358

Arcangelo Corelli Trio Sonata in D minor, Op. 3 No. 5George Frideric Handel Trio Sonata in F major, HWV392

LFBM AcademyMargaret Faultless director–

Johann Sebastian Bach Orchestral Suite No. 1 in C major, BWV1066George Frideric Handel Concerto Grosso in G major, Op. 6 No. 1Georg Philipp Telemann Ouverture-Suite in C major, TWV55:C3 ‘Hamburger Ebb und Fluth’ Wassermusik

The LFBM Academy is a new initiative for 2020 and brings together outstanding young professionals from across the globe to form a baroque orchestra trained by Margaret Faultless. The 2020 LFBM Academy will feature musicians from Colombia, Costa Rica, Ecuador, Germany, Greece, Italy, Japan, the Netherlands, Poland, Spain and the UK.

lfbm.org.uk

Tickets £15 - unreserved

The Brook Street Band presents When in Rome, the story of Corelli and Handel, highly revered baroque chamber music masters connected in Rome through the illustrious Arcadian Academy. Handel first encountered Corelli in Rome in 1707, the old Italian maestro revered and respected, the young German eager to learn, make contacts and finesse his skills. Stories abound about these two men; violinistic fireworks and tempers flying, Handel was determined to learn from the ‘godfather’ of Italian string writing, infusing Corelli’s style with Handelian passion, creating his own unique voice. ‘When in Rome’ presents the best of Corelli and Handel’s trio sonatas for two violins and continuo, illuminating the fire and fervour that drove these two men.

brookstreetband.co.uk


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The Brook Street Band

Margaret Faultless

Thursday 14 May

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The enlightened violin: Music for the House of Alba

Concerto 1700Daniel Pinteño violin and director–

Sonatas for violin by José de Herrando and Domenico Scarlatti.

Domenico Scarlatti Sonata for violin and basso continuo in D minor, K81Juan de Ledesma Sinfonía in EbDomenico Scarlatti Fandango for keyboardAntonio Lolli Sonata II for violin and basso continuo, Op. 1José de Herrando Toccata VDomenico Scarlatti Sonata for violin and basso continuo in D minor, K90Antonio Soler Sonata for keyboard, R49José de Herrando Toccata IIIILuigi Boccherini Cello Sonata in G major, G5José de Herrando Toccata II

Violinist Daniel Pinteño, with his ensemble Concerto 1700, present a programme of music by composers who worked in Madrid in the 18th century. Works by members of the Royal Chapel, such as José de Herrando and Juan de Ledesma, are performed alongside three great European masters, Scarlatti, Soler and Boccherini. Concerto 1700 have been finalists as Best Young Group in the GEMA 2015 and 2016 Awards, being awarded with the FestClassical Circuits 2017 Award in the category Early Music. They have performed with great public and critical success in the most important Spanish festivals such as the Quincena Musical de San Sebastián, Festival Internacional de Santander, Otoño Musical Soriano, Festival de Música Española de Cádiz, Festival de Música Antigua de Aranjuez, Festival de Música Antigua de Sevilla, among others.

concerto1700.com


Friday 15 May


Madrid 1700

L’ApothéoseLucía Caihuela soprano–

Sacred and secular Spanish Baroque music. From the Royal Chapel to the theatres of Madrid.

From the Royal Chapel…Francisco Corselli A ti, invisible ruiseñor canoro. Cantada de ReyesFrancisco Corselli Regina caeli laetareJosé de San Juan Sinfonía del Oratorio a santa María MagdalenaJuan Francés de Iribarren Respira sin temor. Cantada a la Purísima Concepción

…To the theatres of MadridGiacomo Facco ‘Qué será, cielos, de mí’, aria from “Las amazonas de España”José de Nebra ‘No mi rigor’ and ‘Confuso, turbado’, Recitative and Aria from “Viento es la dicha de amor”Vicente Basset Overture to “piu stromenti”José de Nebra ‘Sopla hacia allí’, Aria from “Amor aumenta el valor”José de Nebra ‘Ciegue, clame y suspire’ and ‘¿Quién fio de un mar sereno?’, Recitative and Aria from “Vendado es Amor, no es ciego”

L’Apothéose start their programme with music from the Royal Chapel of Madrid. Soprano Lucía Caihuela will perform a sacred motet by Francesco Corselli alongside cantatas by Corselli and Iribarren, the chapel master of the cathedral of Malaga. In the second part of the concert, L’Apothéose jump to the world of Madrid theatres, bringing arias from two of the most highly respected composers of Bourbon Madrid, Giacomo Facco and José de Nebra.

lapotheoseensemble.com


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Concerto 1700 L’Apothéose

Grosvenor Chapel3.00pm

The Spanish guitar from 1500 to 1700

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Saturday 16 MayFriday 15 May


Tonos Humanos

José Miguel Moreno vihuela/baroque guitar–

Works for vihuela by Narvaez, Fuenllana, Mudarra, Ortiz, and for baroque guitar by Guerau, Martín y Coll and Gaspar Sanz.

VIHUELAAnon. (s. XVI) Al alva venidClaudin de Sermisy / Miguel de Fuenllana Glosa sobre ‘Tan que vivray’Diego Pisador Dezilde al cavalleroLuis de Narváez La canción del emperador & Cuatro diferencias sobre ‘Guárdame las vacas’Cristóbal de Morales / M. de Fuenllana De Antequera sale el moroDiego Ortiz Recercada quinta, Recercada settima & Recercada segundaAlonso Mudarra Pavana de Alexandre, Fantasía de pasos de contado, Beatus ille & Fantasía que contrahaze la harpa a la manera de Ludovico

BAROQUE GUITARFrancisco Guerau Villanos & CanariosAntonio Martín y Coll CanariosGaspar Sanz Españoletas, Pavana al ayre español, Rujero y Paradetas, Folías, Canción, La esfachata de Nápoles, La miñona de Cataluña, Lantururú & Canarios

La GalaníaRaquel Andueza soprano–

Songs by José Marín from the manuscript of the Fitzwilliam Museum in Cambridge.

José Marín No piense Menguilla yaJosé Marín Qué dulcemente suenaJosé Marín Qué bien canta un ruiseñorGaspar Sanz FolíasJosé Marín Ahora que estáis dormidaJosé Marín De amores y de ausenciasJosé Marín Ya no puedo más, señoraGaspar Sanz CanariosJosé Marín Túrbeme Celinda hermosaJosé Marín Si quieres dar Marica en lo ciertoJosé Marín Ojos, pues me desdeñáisLucas Ruiz de Ribayaz EspañoletasJosé Marín Aunque el mal que padezcoJosé Marín Si quieres vivirJosé Marín Mi señora Mariantaños

Music of the 17th century is presented by the great Navarran soprano, Raquel Andueza, leading La Galanía. The Madrid composer, José Marín, led a turbulent life but his music represents the quintessential song of the Spanish Baroque. Thanks to a 17th century collector we have many of his songs in a manuscript kept now in the Fitzwilliam Museum in Cambridge and it is this music which is featured in this concert.

lagalania.com/en


The renowned authority on historical stringed instruments, José Miguel Moreno from Madrid, explores two centuries of Spanish music. In the first half of his recital he uses the vihuela to illustrate the Renaissance repertoire, from the songbooks to the great vihuelistic editions of the 16th century, through the music of Diego Ortiz. In the second part, he takes the guitar, which grew as the popular relative of the vihuela, to offer music from two of the most important books dedicated to the instrument in the Baroque, those edited by Guerau and Sanz. Canarios from the manuscripts of Martín y Coll are also featured.

glossamusic.com


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La Galanía

José Miguel Moreno

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Saturday 16 May Sunday 17 May

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Juan Hidalgo: Music for the Planet King

St Anne & St Agnes Church3.00pm

Chiaroscuro, lights and shadows of Spanish Baroque

La Grande ChapelleAlbert Recasens director–

Works by Juan Hidalgo (tonos, villancicos and music for theatre).

Capella de MinistrersDelia Agúndez soprano–

SHADOWSLuys de Milán Pavana & GallardaGabriel Mena De la dulce enemigaAnon. Vuestros ojos tienen d’a mor no se queCesare Negri Austria Felice (Hachas), Villancico & Spagnoletto & CanarioAnon. Passava Amor su arco desarmadoSeguidillas en eco De tu vista celosoJosé Marín No piense menguillaCancionero de Palacio Romance del Rey Don Rodrigo: Rónpase la sepolturaFolías de EspañaJosé Marín Ojos, pues me desdeñáisJuan Arañés Un sarao de la Chacona

LIGHTSCancionero de Palacio Romance de Cardenio: Por unos puertos arrivaGabriel Bataillé El baxel está en la playaLuys de Narváez Diferencias sobre Guárdame las VacasAlonso Mudarra Claros y frescos ríosGaspar Sanz PreludioJ.A. Dalza Calata a la SpagnolaSantiago de Murcia JotasHenry Du Bailly Yo soy la locuraMagistro Rofino Un cavalier di spagnaAnon. / J. Stefani Vuestra belleza señoraRecercadas & RomanescasMateo Romero Romerico FloridoFolias

Antonio Martín y Coll Pasacalle de primer tonoJuan Hidalgo ¡Venid, querubines alados!, a 4, villancico a Nuestra SeñoraJuan Hidalgo Al dichoso nacer de mi Niño, a 4, tono para Navidad [solo estr.]Juan Hidalgo Mas, ¡ay, piedad!, a 3, villancico de MiserereLucas Ruiz de Ribayaz / Gaspar Sanz JácarasJuan Hidalgo Ay amor, ay ausencia, [tono] a soloJuan Hidalgo Pisa, pisa con tiento las flores, duo de "Fortunas de Andrómeda y Perseo"Juan Hidalgo Anarda divina, dúo [a lo humano]Lucas Ruiz de Ribayaz / Gaspar Sanz Rugero Juan Hidalgo Cuando el alba aplaude, a 3, villancico al Santísimo y a Nuestra Señora Tomás de Torrejón y Velasco A este sol peregrino, bailete a 4Manuel Machado Afuera que sale con ejércitos de flores, tono humano a 4Juan Hidalgo Suprema deidad que miro, a 4, villancico de Pasión Juan Hidalgo Antorcha brillante, a solo y a 4, villancico al Santísimo SacramentoLucas Ruiz de Ribayaz / Gaspar Sanz MarionasJuan Hidalgo ¡Ay, corazón amante!, tonada humana a soloJuan Hidalgo Vive tú, vivirá todo, tono humano a 4Juan Hidalgo Luceros y flores, arded y lucid, solo a Nuestra Señora [versión a lo humano]Juan Hidalgo Aunque en el pan del cielo, a 3, [tono] al Santísimo SacramentoJuan Hidalgo Ay, cómo gime, a 4, tono de la zarzuela "Los celos hacen estrellas"

lagrandechapelle.com

Tickets £28, £22, £16, £12

This programme, presented by Capella de Ministrers of Valencia, is inspired by the baroque painting technique of Chiaroscuro (shadows and light). The concert shows the transition from Renaissance to Baroque in Spanish music from 1500 to 1650, with an amalgam of authors and songbooks from the renowned Cancionero de Palacio to the Sablonara Codex, from Luys of Milan to Mateo Romero. A courtly repertoire with music for theatre, or pieces cited in the work of the greatest figure in the Spanish literature Miguel de Cervantes, where we find an inexhaustible source of references to musical traditions, dance and music of Spain in the 16th and early 17th centuries.

capelladeministrers.com/en


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La Grande Chapelle Capella de Ministrers

Delia Agúndez

Harpist of the Royal Chapel in Madrid, Juan Hidalgo is one of the key figures in the development of theatrical music in 17th century Spain. His songs, operas and zarzuelas, many of them written in collaboration with Calderón de la Barca, cover an entire era. Less known is his role as author of paraliturgical music, but Hidalgo also wrote Christmas carols and divine music for the most important festivities of the year. Some of these pieces have been recovered by Albert Recasens for this concert, offering a diverse portrait of the great Madrid composer. Works by other composers of the period (Torrejón and Velasco, Ruiz de Ribayaz, Sanz, Machado) will place the broad vision of Hidalgo in context.

Sunday 17 May


Handel – Ariodante

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La Nuova MusicaDavid Bates conductorPolly Leech ariodanteNardus Williams ginevraAlexandra Oomens dalindaJames Platt il re di scoziaNicholas Tamagna polinessoChristopher Turner lurcanio–

George Frideric Handel Ariodante(Concert Performance)

Orlando, Alcina and Ariodante all have librettos taken from Ludovico Ariosto’s Orlando Furioso and it has been our pleasure to present these three marvellous operas over three years at LFBM. Ariodante completes the trio and with an exceptional cast of ‘next generation’ Handelians La Nuova Musica is very excited to present the opera, in its near complete form, only omitting the dances. Unlike Orlando and Alcina, there is little cross dressing and few endless plot machinations, so the story is surprisingly easy to follow. That said, you can expect Handel’s typical characterisations, fantastic melodies and dazzling vocal displays equal to the finest in his operatic canon.

“The balance, sensitivity and attention to detail were frequently staggering, and the various solo instruments cut through the air with spellbinding precision.” MUSIC OMH.COM on Orlando

lanuovamusica.co.uk

Tickets £49, £38, £27, £16

“..the players of La Nuova Musica and conductor David Bates favour

elegance and warmth while pulling out the stops at moments

of high drama.”

THE STAGE on Alcina

La Nuova Musica

David Bates

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Monday 18 May

Les Arts FlorissantsWilliam Christie directorKatherine Watson sopranoEva Zaïcik mezzo soprano–

Claudio Monteverdi Chiome d’oroClaudio Monteverdi Ohimè, dov’è ’l mio benTarquinio Merula La CaravaggiaLuigi Rossi Lamento della Regina di SveziaLuigi Rossi Un ferito CavalieroAlessandro Stradella Sinfonia a tre in D majorTarquinio Merula ChaconneClaudio Monteverdi Zefiro tornaLuigi Rossi Quando spiega la notteAgostino Steffani Inquieto mio corGeorge Frideric Handel Sonata in B minorFrancesco Durante Fiero acerbo destinGeorge Frideric Handel Per le porte del tormento (Sosarme)George Frideric Handel Son nata a lagrimar/sospirar (Giulio Cesare)George Frideric Handel Caro! Bella! Più amabile beltà (Giulio Cesare)

Marked by the irreversible modernity of Monteverdi, il bel canto had an opulent golden age throughout the XVII and XVIII centuries. The art of singing is linked to the history of Italian opera which, long before the 1700s had become a grand spectacle in the Italian peninsula, a pretext for vocal pyrotechnics whose main aim was to please a varied public. But in the shadow of these grand and opulent forms, some more intimate styles prospered: such is the case of the Duetti da Camera that composers often considered as testing ground for their art, on the stage as much as in a chamber setting. This programme invites the listener to revel in the writing of one of the uncontested masters of the genre, George Frideric Handel. Trained in the manner of the grand Italian school (as his glory years in Rome and Naples attest), “il Caro Sassone” nurtured a nostalgia for the bel canto and the divine melodies from the south which coloured all of his duos right until the end of his life. The pages chosen, not only from Handel but also from his contemporaries, form superb examples of transcendent vocal style where virtuosity and vocal prowess are agents of pure emotion.

arts-florissants.com/main/en_GB/

Tickets £49, £38, £27, £16

William Christie


Duetti da Camera – Handel & his Contemporaries

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Perpetual Night

Wednesday 20 May

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Ensemble CorrespondancesSébastien Daucé directorLucile Richardot soprano–

Reaching from the virtuoso Renaissance world of the Consort Song and the English Virginalist through to the 17th century, this is the music that connects Dowland to Blow and Purcell.

The political instability of the Kingdom of England in the 17th century and the perpetual tensions between Catholics and Protestants influenced artistic life: musicians evolved and adapted depending on the current regime and their religion, and new genres

were continually emerging and disappearing. It was during this period that the English accompanied song was born, where the beauty of counterpoint and its dissonances gave way to the freedom of declamation, influenced by the Italian style of Caccini and Monteverdi. Poetry has a pastoral flavour and the melancholy remains an omnipresent English signature.

These songs retrace the art of English singing, where the delicacy of France is never far away and Italian extravagances are envied and imitated. From William Lawes’s grand narratives to the seduction of John Blow’s melodies, the English sound is shaping before our eyes and will build over the years to become the inspiration of the young Henry Purcell.

“Perpetual Night” has been awarded the German Record Crititcs’ Award 2018 and Diapason d’Or de l’année, as well as Album of the year Classica, Diamant d’Opéra Magazine and Télérama.

ensemblecorrespondances.com

Tickets £39, £32, £24, £16

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Ensemble CorrespondancesThe Choir of Westminster Abbey with St James’ Baroque

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Tuesday 19 May

Westminster Abbey7.00pm

Monteverdi – Vespers (1610)

The Choir of Westminster AbbeySt James’ BaroqueJames O’Donnell conductor–

Claudio Monteverdi Vespers (1610)

Westminster Abbey is the magnificent setting for this Festival performance of Claudio Monteverdi’s dazzling Vespro della Beata Vergine given by the Choir of Westminster Abbey with St. James’ Baroque under the direction of the Abbey’s Music Director James O’Donnell.

westminster-abbey.org

Tickets £45, £36, £28, £22, £18, £15

Additional event information

• Please note this event takes place at Westminster Abbey

• Doors open at 6.15pm• Entry is via the Great West Door• There will be no interval and the

performance will end at around 8.20pm

• Latecomers will be admitted but may not be able to occupy their allocated seats until a suitable break in the performance

• Please note that the Abbey is not open for visiting on concert evenings. If you wish to view areas of the church other than the nave (where the concert takes place), please consult the Abbey website for details of opening hours: westminster-abbey.org/visit-us

• This event is not recommended for children under the age of six

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Vivaldi – Gloria, RV589

Friday 22 May

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LFBM Festival Chorus & Baroque EnsembleRichard Heason director–

Antonio Vivaldi Gloria, RV589

For our ‘Come and Sing’ event this year we invite you to join Festival Director Richard Heason throughout the second week of the London Festival of Baroque Music in forming our Festival Chorus and performing Vivaldi’s ever-popular Gloria. Thought to have been composed around 1715 for the students of the Pieta in Venice where Vivaldi was employed it is extraordinary now to think that this core staple of the choral repertoire lay unheard for 200 years until it was revived in the middle of the 20th century.

Register to join the Festival chorus in order to take part in this concert. Rehearsals will take place for 45 minutes each day at lunchtime (12.10pm to 12.55pm) on Monday 18th, Tuesday 19th, Wednesday 20th and Thursday 21st May. Please register in advance by voice-type with the Box Office at St John’s Smith Square. Music will be provided.

If you can’t join the Festival Chorus on this occasion then join us in the audience for our performance.

lfbm.org.uk

Tickets £10 (for audience), £15 (for participants for the whole week)

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Richard Heason

Thursday 21 May


Breaking the Canon


A Musical Offering

Improviso–

Improviso presents a lunchtime concert of chamber works by J.S. Bach punctuated by their own arrangement of some of his famous Goldberg canons and improvisations inspired by Bach’s (often forgotten) legendary skills as an improviser.

improviso.net/about


Improviso–

Delving into the riches of J.S. Bach’s chamber and solo works, Improviso’s musical offerings include arrangements of the organ trio sonatas as well as the infamous trio sonata from the Musical Offering, arrangements of cantata movements, and solo pieces from the flute, violin, ‘cello, and lute repertories.

improviso.net/about

Tickets £15 - unreserved, £20 - combined tickets for both concerts

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Bach – Mass in B minor

Saturday 23 May

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The Holst SingersOrchestra of the Age of EnlightenmentStephen Layton directorMary Bevan sopranoIestyn Davies countertenorJames Gilchrist tenorAshley Riches bass–

Johann Sebastian Bach Mass in B minor

We are delighted to welcome back Stephen Layton with The Holst Singers and the Orchestra of the Age of Enlightenment to draw the Festival to a close with a star-studded performance of Bach’s monumental Mass in B minor. Completed towards the end of his life, and surrounded by conjecture regarding the circumstances of its composition, this enormous work of faith is rightly regarded as both a pinnacle of Bach’s towering achievement and of the 18th century as a whole. Et Resurrexit!

holstsingers.comoae.co.ukstephenlayton.com/aboutintermusica.co.uk/artist/Mary-Bevaniestyndavies.comjamesgilchrist.co.ukashleyriches.co.uk/about

Tickets £49, £38, £27, £16

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Friday 22 May


Contented Rest

Le Banquet CélesteDamien Guillon countertenor/directorMaude Gratton organ–

Johann Sebastian Bach Fantasy and Fugue in G minor, BWV542Johann Sebastian Bach Ich habe genug, BWV82Johann Sebastian Bach Chorals "Allein Gott in der Höh sei Ehr" BWV662, BWV663, BWV664 Johann Sebastian Bach Vergnügte Ruh, beliebte Seelenlust, BWV170

Following the success of their first recording, devoted to Bach’s cantatas for alto BWV35 and 170 (released in 2009 in collaboration with Outhere), Damien Guillon pursued his research and interpretation work by dedicating a second recording to the cantatas for alto BWV82 and BWV169, with the musicians of the Banquet Céleste along with organist Maude Gratton.

Damien Guillon unites these particularly deep cantatas: the BWV169 cantata Gott soll allein mein Herze haben (God alone must possess my heart) and the famous BWV82 Ich Habe Genug (I have enough), better-known for its bass version (1727) and re-written for alto by J.S. Bach himself in 1735.

In addition to these works, the organ player Maude Gratton, one of Damien Guillon’s regular collaborators, connects the prelude and fugue BWV543 to these cantatas, as well as 3 arrangements (highly colourful and richly embellished) of the hymn Allein Gott in der Höh sei Ehr, BWV662, BWV663 & BWV664.

banquet-celeste.fr/en/

Tickets £39, £32, £24, £16

Damien GuillonLe Banquet Céleste

Maude Gratton

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St John’s Smith Square

Venues

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Westminster AbbeySt John’s Smith Square

St Anne & St Agnes ChurchGrosvenor Chapel

sjss.org.uk

Smith SquareLondon SW1P 3HA

Westminster

St James’s Park

voces8.foundation/the-voces8-centre

Gresham StreetLondon EC2V 7BX

St Paul’s

Moorgate

westminster-abbey.org

20 Deans YardLondon SW1P 3PA

Westminster

St James’s Park

grosvenorchapel.org.uk

24 South Audley StreetLondon W1K 2PA

Bond Street

Green Park

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St John's Smith Square Westminster Abbey Grosvenor Chapel St Anne & St Agnes Church

Le Concert Royal de la Nuit at LFBM May 2018 © S

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Festival Friends

Join the Friends of the London Festival of Baroque Music

Much Baroque music would never have been composed without the generosity of the great patrons of the era. Will you follow their example and help to realise the ambitions of one of the world’s leading early music festivals?

The difference you make

LFBM is a visionary festival that champions the highest-quality performers in the field of Baroque music.

Your support enables us to: · Present top-quality UK and international artists · Create intelligent theme-based programmes year after year · Encourage new and emerging young artists in the field of Baroque music · Present the highest quality music in some of London’s most beautiful venues.

Join us from £50 a year

For full details please visit our website:

lfbm.org.uk/[email protected]

Festival Pass

One ticket for each of the concerts and all other events in the LFBM – non-transferable : £195 (a discount of over 50% on the individual tickets).

Young Friends

Join the Young Friends of SJSS and qualify for tickets for any festival concert for just £5 each (non-transferable and subject to availability).

Young Friends Festival Pass – a complete Festival Pass for all concerts for Young Friends - £50 (non-transferable and subject to availability).

sjss.org.uk

Telephone020 7222 1061

In person

Monday – Friday, 10am – 5pm(6pm on concert days)Weekends and Bank Holidays, one hour prior to concerts

By post

Box Office, St John’s Smith Square,London SW1P 3HA

Please make cheques payable to‘St John’s Smith Square’ and include an SAE

Booking conditions Tickets cannot be refunded, but tickets for St John’s Smith Square may be exchanged for alternative dates up to 48 hours before the performance, which will incur a £2 administration fee per ticket.

Booking fees Telephone £2.75 per transaction,Online £1.75 per transaction.

Student Offer £5 tickets are available for full-time students for all concerts in the Festival. Please note that some concerts have limited availability for this offer and that ticket requests will be handled on a first-come, first-served basis. Tickets for this offer are available by calling the Box Office on 020 7222 1061 or in person. Proof of eligibility (student ID card) will be required on ticket collection for ALL student bookings.

Access Wheelchair access is available at all venues. Westminster Abbey is equipped with an induction loop system. Please advise the Box Office when booking tickets.

Please Note We may need to substitute artists and to vary our concert programmes from the published information without warning.

St John’s Smith Square Charitable Trust, registered charity no: 1045390 Registered in England. Company no: 3028678

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Booking Information

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Documents

Beyond the Spanish Golden Age - lfbm.org.uk...George Frideric Handel Trio Sonata in G minor, Op. 5 No. 5 Arcangelo Corelli Trio Sonata in G minor, Op. 4 No. 2 George Frideric Handel