Beethoven wrote some of his most engaging pieces for the String Trio. Yet after the age of 28 he was never to write any more. We find out why..
Beethoven left his native Bonn at the age of 22 to take lessons from Josef Haydn in Vienna. Everything was going well with several successful works under his belt including collections of String Trios.
In 1797 Beethoven began composing his opus 9 set of three String Trios which he dedicated to his patron Count Johann Georg von Browne.
Count Johann Georg von Browne
At the time of publication Beethoven regarded these Trios as the best compositions he had ever written.
Carnevale String Trio
Suddenly, just when he was in total command of the genre, he abandoned the String Trio for ever. The reason being that he was ready to take up the wider challenge of the String Quartet. Yet Musicologist Gerald Abraham believes that Beethoven’s String Trios are on a par with the quartets he was to write afterwards in terms of their style and aesthetic value.
The Carnevale String Trio will be performing Beethoven’s last String Trio – a work in which Beethoven unleashes what the musicologist Denis Matthews describes as a ‘creative demon’.
Experience this fascinating music of passion and energy on Saturday 29 September alongside music by J.S.Bach, Dohnanyi and Gideon Klein
THE RECITAL SERIES
Carnevale String Trio
Saturday 29 September 7.30pm
St Michael’s Church, Broad Street, Bath BA1
JS Bach Goldberg Variations (excerpts) Dohnanyi Serenade in C Major Gideon Klein String Trio Beethoven String Trio in C Minor op 9 no. 3
The talented violinist, violist and cellist making up the Carnevale String Trio bring a programme of four of the most exciting pieces written for this ensemble by some of the greatest composers from the baroque to the present…
Although the String Trio never quite managed to match the popularity of the String Quartet, its origins date back earlier to the Baroque Trio Sonata – often with two violins and a bass instrument or ‘continuo’. By the 18th century the string trio scored for violin, viola and cello came to be more usual.
JS Bach’s Goldberg Variations were originally written for the harpsichord in 1741 for Johann Gottlieb Goldberg – a rather exceptionally talented 14-year-old from Danzig in Poland. Many of the 30 variations are written in three ‘voices’ so lend themselves particularly well to be played by three individual instruments and have been transcribed for string trio by Dmitry Sitkovetsk
Caption: Excerpt from Bach’s Goldberg Variation no.21 showing the three ‘voices’
The Hungarian composer Ernö Dohnányi wrote his delightful five-movement Serenade in C Major in 1902 ahead of its premieré in Vienna. Yet it sounds like something from an earlier age capturing more of the spirit of the 18th century. It is fair to say that Dohnanyi intentionally chose to produce an updated version of the classical serenade for string trio and based his work on Beethoven’s Op.8 Serenade.
Carnevale feels like an equilateral triangle: technically and musically balanced and respectful of the other two sides’
Andrew Maddox: Concerts in the West
Gideon Klein may not be an immediately recognisable name yet this Czech pianist and composer was to become the organiser of cultural life in Nazi concentration camps during World War Two.
Following the occupation of Czechoslovakia in March 1939 Klein was forced to abort his university studies, but the following year he was offered a scholarship to London’s Royal Academy of Music.
However anti-Jewish legislation prevented his emigration and he was deported initially to the Terezín concentration camp – one of the few in which artistic activity was eventually permitted by Nazis on any scale, if only to deceive the broader public as to their real intentions. His works, including this poignant and tuneful String Trio were fortunately saved by his sister after his tragic death in 1945.
Beethoven’s String Trio in C Minor op 9 no. 3 was published in Vienna in 1799 as part of a set of Trios dedicated to his patron Count Johann Geog von Browne and was a significant milestone in the 28-year-old Beethoven’s development as a composer. At the time he regarded the trios as his best compositions yet and lead the way for his upcoming string quartets, which became the leading genre among his chamber music compositions.
Carnevale String Trio
THE RECITAL SERIES
Carnevale String Trio
Saturday 29 September
JS Bach Goldberg Variations (excerpts)
Dohnanyi Serenade in C Major
Gideon Klein String Trio
Beethoven String Trio in C Minor op 9 no. 3
All our concerts now take place in the beautiful and comfortable setting of St Michael’s church in Broad Street.
https://www.bathrecitals.com/wp-content/uploads/2018/09/String-Trio-painting--e1536185858268.jpg603888adminhttps://www.bathrecitals.com/wp-content/uploads/2017/04/bath-recitals.pngadmin2018-09-08 07:00:572018-09-06 10:19:23A Trio in Four Parts
The Venetian Carnival is known the world over for its flamboyant costumes, elaborate masks and opportunity for licence and pleasure. Dating back to the year 1162, the festival was actually banned in 1797 under the rule of the Holy Roman Emperor and later Emperor of Austria, Francis II and the use of masks became strictly forbidden. But it gradually returned and was fully enforced by the Italian government in 1979 as a celebration of the history and culture of Venice and now attracts upwards of 3 million people every year.
The Carnival of Venice, is a folk tunepopularly associated with the words My hat, it has three cornersand which has subsequently been arranged by composers from Chopin to Paganini and for just about every instrument under the sun. How much is that Doggie in the Window is even derived from the same melody!
Harlequin Casanova
The Carnevale String Trio bring some of this exuberance and excitement to the beautiful surroundings of Bath’s St Michael’s Church on 29 September with music ranging from baroque and early classical by Bach and Beethoven through to post romantic by Dohnanyi and contemporary with Gideon Klein’s tuneful and poignant 1943 trio.
My Hat has Three Corners is also an appropriate metaphor for the Carnevale String Trio consisting of three equal instrumentalists and as Andrew Maddocks of Concerts in the West described them recently:
Carnevale feels like an equilateral triangle: technically and musically balanced and respectful of the other two sides.
Carnevale String Trio
The three performers, Kamila Bydlowska (violin), Shiry Rashkovsky (viola) and Timothee Botbol (cello) are noted for the intensity of their performances and variety of repertoire having received enthusiastic responses from audiences and musicians across the UK. Since they were founded by these three talented and award-winning RCM graduates they have performed in venues such as the National Gallery, Victoria & Albert Museum, Lancaster House and Somerset House.
‘Stylish and highly accomplished’
Dorset Echo
THE RECITAL SERIES
Carnevale String Trio
Saturday 29 September
JS Bach Goldberg Variations (excerpts)
Dohnanyi Serenade in C Major
Gideon Klein String Trio
Beethoven String Trio in C Minor op 9 no. 3
All our concerts now take place in the beautiful and comfortable setting of St Michael’s church in Broad Street.
https://www.bathrecitals.com/wp-content/uploads/2018/08/Venetian-Carnival-Masked-Lovers.jpg23363504adminhttps://www.bathrecitals.com/wp-content/uploads/2017/04/bath-recitals.pngadmin2018-08-28 21:52:122018-08-28 21:52:14My Hat has Three Corners
How did one of the greatest German composers of the Baroque era, trained in Hamburg and Italy, become a British subject and the darling of the British crown and the public?
Grand Baroque on 25 August is a celebration of the music of George Frideric Handel, described by musicologist Winton Dean as ‘not only a great composer; he was a dramatic genius of the first order.’
Over in Hanover in what is now northern Germany, the successful composer George Frederic Handel was the Kapellmeister for the German Prince-Elector of Hanover – George Louis.
However, Handel had started to spend more and more time in England at the behest of Queen Anne who had bestowed him with a yearly income of £200.
Handel
The Elector was not too pleased with these split loyalties but when in 1714 the George Louis became King George I of Great Britain his views started to change. Catholics had been prohibited from inheriting the British throne since 1701 and following the death of his second cousin, Queen Anne, George was the nearest Protestant relative – so he got the job – and thus began the start of the Hanoverian dynasty.
Water Music
And when Handel’s newly composed Water Music was performed in a concert for the King on the River Thames it spurred their reconciliation.
In 1717 Handel became house composer for the Duke of Chandos (until he lost all his money on the South Sea Bubble fiasco). Nevertheless, Handel was now in demand and helped establish the new opera company The Royal Academy of Music and in 1723 moved into a house in Brook Street, Mayfair (pictured). He lived there for the remaining 36 years of his life. Over 200 years later the rock guitarist Jimi Hendrix was to move next door and it is now the Handel & Hendrix Museum!
Handel’s House
When the King died in 1727, Handel was commissioned to write four anthems for the Coronation ceremony of King George II who then appointed him a British subject in gratitude for his work. One of these, Zadok the Priest, has been played at every British coronation ceremony since.
After his contract at The Queen’s Theatre ended Handel surprised everyone by immediately looked for another theatre and started a new company at Covent Garden Theatre.
Covent Garden Theatre
But after 1741 Handel devoted more of his time to Oratorio following the success of his Messiah in Dublin. Now he could compose music in English for the wider British audience who adored this new theatrical musical narrative.
George II victoriously led his united British and Hanoverian troops into battle against the French at the Battle of Dettingen in 1743. As ‘Composer of the Musick to the Chapel Royal Handel composed a Te Deum in celebration of the victory.
George II at Dettingen
And when in In 1749 Handel composed his Music for the Royal Fireworks 12,000 people attended the first performance. And his performance of Messiah to benefit the Foundling Hospital was to become an annual event for the rest of his life. When he was buried in Westminster Abbey in 1759 more than three thousand mourners attended his funeral, which was given full state honours.
https://www.bathrecitals.com/wp-content/uploads/2018/08/Handel-and-George-I-on-the-Thames-17-July-1717.jpg25943216adminhttps://www.bathrecitals.com/wp-content/uploads/2017/04/bath-recitals.pngadmin2018-08-25 08:10:482018-08-25 08:12:27Handel in England
In Ivan Hewett’s 2012 Telegraph review of ‘A History of Opera’ he says: ‘Strip away the trappings of opera and what we are gripped by is the magic of the human voice.’
Brunhilda
And this is exactly what we can look forward to on 28 July when Debut present Love, Youth and Mischief in the first of this years Recital Series of concerts as a foil to the already underway Baroque series of concerts.
‘Opera is a glorious thing, but it can also be embarrassing’, so says Ivan Hewett: The plots are mostly absurd, and the psychology of the characters often rudimentary. Much opera concerns strange quasi-mythic creatures whose connection to ordinary human life is tenuous. The bizarre fact that the characters sing when they really ought to be speaking, and lastly it’s fabulously expensive!
Giulio Cesare Photo Tristram Kenton
However, the focus of much of opera’s history, has been the singing voice and the idea that the voice, when it becomes the vehicle for a lyric outpouring, can seize the human truth of a dramatic situation. This obsession with the singing voice is the glory of opera and song.
Opera house
Fortunately, the old ways of presenting opera – madly emotional sopranos and tenors bawling undying love at each other – have lost their conviction.
And these days there’s never been a culture more alert to the vast range of expressive singing, whether it’s the earthy growl of Aretha Franklin, the ecstatic soaring of a Sufi devotional singer, or the androgynous tremolo of David Bowie. And in Musical Theatre too the passion of the voice continues – and often continues from where the likes of Puccini and Leoncavallo left off.
So we are in for a real treat on Saturday when soprano Lizzie Holmes and tenor Richard Pinkstone accompanied by pianist Jocelyn Freeman take us on a whirlwind tour through some of our best loved arias from the world of opera alongside with some really memorable songs not from the operatic stage but simply composed for the pure joy of singing, the opportunity to tell a tale or simply for the celebration of the voice itself.
THE RECITAL SERIES
Debut
Saturday 28 July
Strauss Jr Trinke, Liebchen, trinke schnell from ‘Die Fledermaus’ Rossini Presto, dico! from ‘La Gazzetta’ Strauss Die Nacht Liszt Consolation No 3 Schubert Lied der Delphine Lehar Das ist mein ganzes Herz from ‘The Land of Smiles’ & Lippen schweigen from ‘The Merry Widow’ Britten Come you from Newcastle? Quilter Love’s Philosophy Puccini Sì, mi chiamano Mimì from ‘La Bohème’ & O soave fanciulla from ‘La Bohème’ Donizetti Caro Elisir from ‘L’elisir d’Amore’ & Una furtiva lagrima from ‘L’elisir d’Amore’ Debussy C’est L’extase from ‘Ariette Oubliées’ & La fille aux cheveux de lin Mozart Un’aura amorosa from ‘Così fan tutte’ & Fra gli amplessi from ‘Così fan tutte’ Massenet Je suis encore from ‘Manon’ Loesser I’ve never been in love before from ‘Guys and Dolls’ Verdi Brindisi from ‘La Traviata’
All our concerts now take place in the beautiful and comfortable setting of St Michael’s church in Broad Street.
Tickets at £15 – £16 are available online at www.bathrecitals.com and with no additional charges – just click the link below:
Tickets are also available from Bath Box Office, Bath Visitor Information Centre, Bridgwater House, 2 Terrace Walk, BA1 1LN
https://www.bathrecitals.com/wp-content/uploads/2018/08/Giulio-Cesare-Photo-Tristram-Kenton.jpg387620adminhttps://www.bathrecitals.com/wp-content/uploads/2017/04/bath-recitals.pngadmin2018-07-22 13:10:242018-08-11 13:22:15The Seductive Power of Song
The major work in the Italian Baroque concert on 30 June is a rarely heard but hugely significant masterpiece by a Giacomo Carissimi. But what makes Jephte so special…
Giacomo Carissimi
Born in Marino near Rome about 1605, Carissimi worked at Tivoli Cathedral before becoming maestro di cappella in Assisi Cathedral before taking up the the same position at the church of Sant’Apollinare in Rome. He was even offered the prestigious opportunity to take over from Monteverdi in Venice
Carissimi as a priest
But instead, in 1637, he was ordained a priest and remained in Rome until his death in 1674. His successor there described him as:
‘tall, thin, very frugal in his domestic affairs, with very noble manners towards his friends and acquaintances, and prone to melancholy’
Carissimi was hugely influenced by Monteverdi, the founder of opera, but Carissimi’s claim to fame was to be the the first significant composer in the development of the Oratorio – the non staged telling of usually epic tales based on biblical texts. In subsequent centuries the Oratorio was to be made famous by composers such as Handel, Mendelssohn and Elgar.
Samuel Pepys once heard Carissimi’s music and was delighted by the quality of the music. His Diary records that he met:
‘Mr. Hill, and Andrews, and one slovenly and ugly fellow, Seignor Pedro, who sings Italian songs to the theorbo most neatly, and they spent the whole evening in singing the best piece of musique counted of all hands in the world, made by Seignor Charissimi, the famous master in Rome. Fine it was, indeed, and too fine for me to judge of.’
Hieronymus Francken III – Jephthah meets his daughter
But it all started with Carissimi in Rome and with his Jephte or Historia di Jephte written in 1648. Based on the story of Jephtha – or Jephthah – in the Old Testament Book of Judges, the story revolves around Jephtha’s rash promise to the Almighty that if he was victorious in battle against the Ammonites, he will sacrifice the first creature he meets on his return. Unfortunately, on his return he is met by his beloved daughter Iphis.
As the 18th-century French philosopher Voltaire noticed, there are similarities between Jepththa and the Greek mythological story of Idomeneus – except that in that narrative it was his son who was to be sacrificed.
Alexandre Cabanel – The Daughter of Jephthah (1879)
One Hundred years later, G F Handel was to write his last oratorio based on the same subject. Today, Handel’s Jephtha is considered to be one of his most sublime masterpieces – now often fully staged as an opera. And over two hundred years after Handel the contemporary composer Hans Werner Henze wrote a version on 1976 for voices, chorus, flutes, percussion and plucked strings.
Original Manuscript
Don’t miss the opportunity to hear a live performance of this fascinating work along with other wonderful music fo the period played on period instruments by Musica Poetica on 30 June.
THE BAROQUE SERIES
Italian Baroque
Saturday 30 June
St Michael’s Church, Broad Street, Bath
de Wert Ah dolente partita Frescobaldi O mors illa Frescobaldi Partite sopra passacagli Cozzolani O Coeli cives Monteverdi Ecco la sconsolata donna [from L’Incoronazione di Poppea] Frescobaldi Praeludium in E major Carissimi Super Flumine Babylonis de Wert Egressus Jesus Frescobaldi Se l’aura spira Frescobaldi Toccata cromatica per le levatione Caccini Regina caeli laetare, alleluia Carissimi Historia di Jephte (complete)
We are very proud of our Georgian City of Bath with its UNESCO World Heritage Status. Surely we should be bursting at the seams with exuberant Baroque temples, opera houses and palaces…
The fact is that the English have always been rather reluctant to let their hair down (architecturally speaking). So most of the famous Georgian terraces, squares and crescents are in a more elegant and restrained Palladian style which works so well with the local, honey-coloured Bath stone.
Palladio was a Venetian architect from a couple of centuries earlier who developed a new style of architecture in the Italian Renaissance. It wasn’t exactly ‘new’ as he took all his elements from Greek and Roman architecture from 1500 years earlier. Nevertheless he is one of the most influential individuals in architectural history.
Palladio
Robert Adam’s wonderful three arched Pulteney Bridge with its little shops is actually taken from an unused design by Palladio for the Rialto Bridge in Venice.
Pulteney Bridge
London saw a flowering of the English Baroquefollowing the great fire when Sir Christopher Wren had the opportunity to build his monumental new cathedral at St Pauls along with 53 wonderfully flamboyant new churches. Elsewhere country houses by the likes of Sir John Vanbrugh and Nicholas Hawksmoor took the English Baroque to new dizzying heights.
St Paul’s Cathedral
Blenheim Palace
But in Bath all remained pure and restrained with none of the vulgar excesses associated with the European influenced Baroque.
Great Pulteney Street
But if you look very closely you might just find a hint of the Baroque in unexpected places in and around the city:
Ralph Allen’s Town House is one example hidden away behind Parade Passage. If you can find it you’ll notice it stands out as a little more flamboyant with its decoration and carving than most of its neighbours.
Ralph Allen
Another easily missed gem might be Pinch’s Folly on Bathwick Street with its scrolled pediment surmounted by an urn. It was actually just the entrance to a builders yard but remains today as the entrance to a more recent housing development.
Pinch’s Folly
And of course there is a rare opportunity to experience some REAL Italian Baroque when Musica Poetica return to Bath with a glittering concert celebrating the majesty and opulence of that fascinating period with composers such as Frescobaldi, Cozzolani, Caccini and culminating in a complete performance of Carissimi’s magnificent Baroque oratorio verging on opera, Jephte.
And here’s a sneak preview of Musica Poetica preparing Frescobaldi’s 1627 vocal duet O Mors Illa for the concert.
THE BAROQUE SERIES
Italian Baroque
Saturday 30 June
St Michael’s Church, Broad Street, Bath
de Wert Ah dolente partita FrescobaldiO mors illa Frescobaldi Partite sopra passacagli CozzolaniO Coeli cives Monteverdi Ecco la sconsolata donna [from L’Incoronazione di Poppea] FrescobaldiPraeludium in E major CarissimiSuper Flumine Babylonis de Wert Egressus Jesus FrescobaldiSe l’aura spira FrescobaldiToccata cromatica per le levatione Caccini Regina caeli laetare, alleluia CarissimiHistoria di Jephte (complete)
https://www.bathrecitals.com/wp-content/uploads/2018/06/Royal-Crescent.jpg7801199adminhttps://www.bathrecitals.com/wp-content/uploads/2017/04/bath-recitals.pngadmin2018-06-10 18:03:582018-06-10 18:03:58Bringing the Baroque to Bath
The next concert in our exciting 2018 Bath Recitals Baroque Series takes us to the majesty and opulence of the Italian Baroque. Find out more…
Italy at the start of the 17th century was the place where it was all happening.
It was all such a contrast to what was going on elsewhere in Europe:
Martin Luther’s Protestant Reformation was producing a more austere northern European society with iconoclastic inclinations.
Peasants in the English Midlands were rioting against the loss of common land and the country was about to be plunged into a civil war and years of puritan control.
The kingdom of Spain was bankrupt again and for the fourth time in 50 years after mismanaging all its treasures from its international conquests.
But in Italy the Roman Catholic church was realising the power that art could have to inspire people. A frenzy of church building became preoccupied with creating spaces of expansive beauty and extravagant decoration.
Painting and sculpture too created an illusion of never-ending height and dramatic composition.
And in music, Caccini published a radical collection of songs called Le nuove musichi (New Compositions) in 1602. Five years later Monteverdi produced the world’s first opera in Mantua with L’Orfeo. So was born another new creation – the opera house.
Composers such as Corelli produced another new musical genre: the concerto grosso (‘large concerto’) which soon led to composers giving the limelight to just one instrument with the solo concerto by composers such as Marcello, Albinoni and later Vivaldi – who wrote more than 500 of them.
Italian Baroque
Saturday 30 June
St Michael’s, Broad Street, Bath
The Italian Baroque brought with it an exhilarating sense of freedom in music which we shall be celebrating in a glittering concert on 30 June. We welcome the return to Bath of Musica Poetica performing on period instruments. The programme will include some of the greatest music ever written culminating in the special highlight of a compete performance of Carissimi’s Jeptha.
De Wert Egressus Jesus Frescobaldi Se l’aura spira Frescobaldi Partita sopra passacagli Frescobaldi Toccata cromatica per le levatione Cozzolani O Coeli cives Caccini Regina coeli laetere, Alleluia Cozzolani O Quam suavis Frescobaldi Praeludium in E major Carissimi Super Flumine Babylonis Carissimi Jephthe (complete)
On 14 April we celebrate English Spring Baroque with The King’s Music performed by the Oxford Bach Soloists. In this newsletter we discover more about The English Baroque…
London’s disastrous Great Fire of 1666 consumed 13,200 houses, 87 parish churches, St Paul’s Cathedral and most of the city’s public buildings. Despite the colossal social and economic damage it did provide the capital with a unique opportunity to rethink it’s antiquated buildings and crowded medieval streets.
Great Fire of London
Grand plans were drawn up for a visionary city of piazzas and boulevards to rival the great European cities of the day – such as this one by John Evelyn:
John Evelyn’s plan
However – and perhaps in true British style – the authorities could not reach agreement over issues such as land ownership, compensation or who would actually construct something on this scale. So very little of this radical vision was realised and much of the rebuilding followed the medieval street plan – albeit in stone and brick rather than wood.
Sir Christopher Wren
Nevertheless there was one particular genius who made his mark: Sir Christopher Wren. With his mighty new St Paul’s Cathedral and 53 churches he effectively invented the English Baroque.
Wren’s style drew on the Palladian tradition of Inigo Jones fused with continental flamboyance in perfect equilibrium.
Driven by the enthusiasm of the newly restored monarch, King Charles II, the performing arts, along with architecture also saw a flowering of activity after 1666. The King’s time in continental exile coupled with his desire for entertainment led to the embracing of the Baroque and continental forms of music. The court once again became a centre of musical patronage but with renewed freshness and vigour coupled with a desire for things new and European. It was a crossroads of European musicians and styles on a grander scale than had ever been seen before. This was the perfect hothouse in which a new generation of English composers could flourish.
Many of these composers are represented in English Spring Baroque on 14 April with a line up including Handel, Purcell, Blow, Locke and even Henry ‘Captain’ Cooke.
So join us on this joyous occasion to celebrate The English Baroque – one of the true Golden Ages of British music.
ENGLISH SPRING BAROQUE
Saturday 14 April 7.30pm
St Michael’s Church, Broad Street, Bath
Tickets at £15 – £16 are available now. Remember you can book online easily and at no extra charge at www.bathrecitals.com
Tickets are also available from Bath Box Office, Bath Visitor Information Centre, Bridgwater House, 2 Terrace Walk, Bath BA1 1LN Tel 01225 463362
https://www.bathrecitals.com/wp-content/uploads/2018/04/Greenwich.jpg363726adminhttps://www.bathrecitals.com/wp-content/uploads/2017/04/bath-recitals.pngadmin2018-04-07 19:28:192018-04-15 19:30:50The English Baroque
The next concert from Bath Recitals celebrates the music (and theatre) which took a decisive turn following the re-establishment of the British monarchy less than a dozen years after its abolition.
Charles Stuart, the popular 30-year-old son of the executed king was invited back from France where he had been exiled since 1646, and crowned King Charles II in 1660. One of the sources of his popularity was the cosmopolitan, libertine character of his court, a most welcome contrast with the times that had gone before.
We welcome back Oxford Bach Soloists conducted by Tom Hammond-Davies for this colourful concert with a programme of music from the Restoration.
At the heart of the Royal Court was the Chapel Royal. Known as a ‘Royal Peculiar’ it is not so much a building as an establishment in the Royal Household – a body of priests and singers for the explicit function of serving the spiritual needs of the sovereign.
The Chapel Royal, the Chapel Royal achieved its greatest eminence during the reign of Elizabeth I, when William Byrd and Thomas Tallis were joint organists.
A theatre company was also affiliated with the chapel producing plays by playwrights including John Lyly and Ben Jonson.
Portrait of a Boy chorister of the Chapel Royal
Since 1702 the Chapel Royal has been based at St James’s Palace. Under Charles II, the choir was often augmented by violinists from the royal consort and the chapel also employed composers, lutenists and viol players.
So join the Oxford Bach Soloists on 14 April for this magnificent concert of music from this fascinating period of English history with English Spring Baroque: The King’s Musick Music – Restoration Music from the Chapel Royal
https://www.bathrecitals.com/wp-content/uploads/2018/04/Charles-II.jpg340730adminhttps://www.bathrecitals.com/wp-content/uploads/2017/04/bath-recitals.pngadmin2018-03-31 19:25:282018-04-15 19:27:57Restoration Music from the Chapel Royal
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