Sat, 22 Feb 2020
Saturday 22 February 2020
Dido and Aeneas, Purcell's wonderful compelling opera
with John Hancorn
A = 415 for singers, strings and continuo
Jesmond URC, Burdon Terrace, Newcastle upon Tyne NE2 3AE
Everyone should take part in at least one performance in their lifetime!
Purcell produces music of exquisite beauty and grace and poignancy to tell this tragic story of Queen Dido and her doomed love for Prince Aeneas.
It is a joy for the chorus, with wonderful varied choruses to sing...you are courtiers, then witches in the scene with the malevolent Sorceress, then sailors and finally bear witness to Dido’s tragic final demise in a chorus of heartbreaking pathos and beauty, which follows her famous Lament ‘When I am laid’
I would encourage everyone to come and sing, and experience the joy of Purcell’s dramatic masterpiece.
The small orchestra of strings and continuo is challenging and very rewarding and has all the grace and dance like musical trademarks that distinguishes Purcell’s style.
John Hancorn is music director of the BREMF Singers, Baroque Collective Singers, East Sussex Bach Choir and Eastbourne Choral Society and co-director of The Baroque Collective and the newly launched Lewes Baroquefest! Performances for the Brighton Early Music Festival include Bach’s St John Passion and B Minor Mass, Monteverdi Vespers and a staged performance of Purcell The Fairy Queen. John leads vocal workshops and masterclasses specialising in baroque repertoire.
There is a very interesting article about Dido and Aeneas at http://www.ibmidatlantic.org/Music_Net/Dido%20and%20Aeneas%20analysis.pdf
Download application form
Sat, 14 Mar 2020
Saturday 14 March 2020
Machaut and the Magic of the Medieval
A workshop for all voices and instruments, ancient & modern at A=440.
Led by Lizzie Gutteridge
Burley in Wharfedale Methodist Church, LS29 7DT
Machaut lived for over 70 years in the 14th century, which in its self is impressive when you consider the famines, plagues and wars that beset Europe during this period. The length of his career helps to explain the breadth of his musical (and poetical) achievements, which include the development of secular song forms which would become the standards for decades to come, such as the rondeau, virelais and ballade, and the composition of the first complete setting of the mass ordinary by a single composer.
This workshop will offer an introduction to some Machaut's most famous works, alongside a few less familiar numbers and a brief foray into the earlier Montpelier Manuscript where music from the previous generation provides us with some context. We'll cover the poetic song forms of virelais & rondeau, including the well known douce dame joilie, and ma fin est mon commencement. Where these are monophonic we'll look approaches to building an arrangement with drones and countermelodies. We'll also take some time to get used to navigating the forms and relishing the harmonies in the polyphonic works, which can be startling at first to the modern ear but have a logic and richness that's worth pursuing. We'll also tackle the hoquetus David, composed in one of Machaut's more backward looking moments and will compare with an earlier hocket from the Montpellier manuscript, and while we're there we'll take a look at one or two motets on the same tenor.
Lizzie took up playing shawm as a part of the historical re-enactment movement to re-form Waits bands throughout the country, then decided to pursue it further and make it her main occupation. She plays a wide range of historical instruments, including bagpipes, recorders, curtals and fiddles.
Lizzie now performs up and down the country, in and out of historical costume, as a member of Blondel and The York Waits. Freelance engagements have included the Globe's “Nell Gwynn”, both on tour and in the West End, “The Knight of the Burning Pestle” at the Wanamaker Theatre, performances in Morocco and London with Passamezzo, and large scale events at Hampton Court and the Tower of London.
Lizzie's latest project “Consort of 1” combines early music on historical instruments with the use of live looping equipment which allows layering of parts to show Medieval and Renaissance melodies from a new perspective. She also makes and sells historical double reeds for shawms & curtals.
Burley in Wharfedale lies off the A65 (Kendal – Skipton - Leeds road) between Ilkley and Otley. Main Street was the original A65, and is now accessed by a roundabout at either end of the town. The Methodist Church is on the left as you travel westwards, opposite the Co-op. There is a small car park at the back, on Back Lane, but also plenty of on-street parking. The railway station, which is on the Leeds – Ilkley line, is 15 minutes’ walk away to the SW of the church.
Lizzie will be performing a 'looping' concert at Ilkley Manor House the evening before, the 13th. Keep an eye on the Ilkley Manor House website for details when these are released. https://www.ilkleymanorhouse.org/
Download application form
Sun, 26 Apr 2020
NEEMF performing day at Temple Newsam
an opportunity to hear music performed by NEEMF members and their friends throughout the day in this historic setting.
Details later. email@example.com
Sat, 23 May 2020
Baroque Workshop with
Rachel Brown (flute and recorder) Adrian Butterfield (violin)
Monkseaton Middle School, Whitley Bay
It is anticipated that we gather together 6 groups (A415 or 440), preformed (or not) and play and study trio sonatas, quadros etc. especially baroque flutes, recorders, oboe, violin and BC.
Adrian Butterfield has gained an international reputation as a violinist, director and conductor who specialises in period performance of music from about 1600-1900. He is Musical Director of the Tilford Bach Society, Associate Music Director of the London Handel Festival, Professor of Baroque Violin at the Royal College of Music in London and teaches on the Pro Corda Conservatoire Baroque Summer Course. He leads and directs The Revolutionary Drawing Room and The London Handel Players and directs and conducts The London Handel Orchestra as well as being invited to work as a guest with many other ensembles in Europe and North America.
A leading exponent of historical flutes, Rachel Brown is in great demand world-wide, as a soloist, orchestral player and teacher. As principal flute and recorder player with the Academy of Ancient Music, the Hanover Band, the Brandenburg Consort, Collegium Musicum 90, Ex Cathedra and, more recently, Arcangelo, she has recorded extensively and performed throughout Europe, North and South America, Japan, China and Australia. Her acclaimed solo recordings include the Telemann Fantasias, sonatas and concertos by JS, CPE and JC Bach, Handel, Quantz and Leclair. With her ‘dream-team’ London Handel Players, Rachel has immersed herself in the rich repertoire of baroque chamber music.
Sat, 13 Jun 2020
Workshop for singers, with Rory McCleery
Infelix Ego - Recusant masterpieces by Byrd, Tallis & De Monte
Clements Hall York. Details later.
Sat, 19 Sep 2020
'Sisters of Ferrara' workshop (female voice polyphony)
led by Prof. Laurie Stras
Clements Hall, York. Details later.