Music on Thursdays
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Thursday 13th November 2025
12.30 lunchtime
Venue: Leatherhead Methodist Church KT22 8AY
Parking: Swan Centre multi storey KT22 7RH
Nocturnalia Ensemble (baroque trio)
Mojca Jerman, ßaroque violin
Pablo Tejedor-Gutiérrez, viola da gamba
Alex Mastichiadis, harpsichord
Programme
Thomas Baltzar (c1630-1663)
from The Division Violin, pub 1684 John Playford (1623–1686)
John, Come Kiss Me Now (c1656)
Henry Purcell (1659–1695)
Trio Sonata in G minor Z780
Adagio - Allegro moderato - Largo - Vivace
Nicola Matteis (1650–1713)
from Ayres for the Violin, The First Part (c1676)
Preludio Passaggio rotto Scaramuccia
Christopher Simpson (c1605–1669)
Prelude and Divisions upon a Ground
Matthew Locke (1621–1677)
Suite in D minor
Fantazie
Courante
Ayre
Sarabande
For the several Friends in D minor
Allemande
Ayre
Courante
Saraband
Henry Purcell
New Ground in E minor ZT683
Hornpipe ZT 685
John Walsh (1665/6-1736)
from The Compleat Country Dancing-Master (c1740)
Irish Bouree or Irish Boree
Gottfried Finger (1660–1730)
from 12 Sonatas for Diverse Instruments Op 1 (pub 1688)
Trio Sonata in A major Op 1 No 3
Adagio
Allegro
Adagio
Allegro - Adagio
William Viner (c17th–1716)
from 6 Violin Sonatas, or Six Solos for a Violin with a thorough bass for the harpsicord or bass violin compos'd by the late Mr. Viner of Dublin
Violin sonata No 3 in D minor
Grave - Allegro - Grave
Corente Allegro
Anon, published in John Playford's The Division Violin
Duke of Norfolk or Paul's Steeple
Thomas D'Urfey (c1653-1723)
from Wit and Mirth collection Pills to Purge Melancholy (1698) pub Henry Playford
Scotch Tune
We are very grateful to Andrew Durand of the Music Room Workshop at Chiddingfold for the loan of the harpsichord for this concert.
Concert duration approx: 45+ minutes
Please donate to help fund these concerts at: cafdonate.cafonline.org/14455
Thomas Baltzar (c1630-1663)
from The Division Violin, pub 1684 John Playford (1623–1686)
John, Come Kiss Me Now (c1656)
Henry Purcell (1659–1695)
Trio Sonata in G minor Z780
Adagio - Allegro moderato - Largo - Vivace
Nicola Matteis (1650–1713)
from Ayres for the Violin, The First Part (c1676)
Preludio Passaggio rotto Scaramuccia
Christopher Simpson (c1605–1669)
Prelude and Divisions upon a Ground
Matthew Locke (1621–1677)
Suite in D minor
Fantazie
Courante
Ayre
Sarabande
For the several Friends in D minor
Allemande
Ayre
Courante
Saraband
Henry Purcell
New Ground in E minor ZT683
Hornpipe ZT 685
John Walsh (1665/6-1736)
from The Compleat Country Dancing-Master (c1740)
Irish Bouree or Irish Boree
Gottfried Finger (1660–1730)
from 12 Sonatas for Diverse Instruments Op 1 (pub 1688)
Trio Sonata in A major Op 1 No 3
Adagio
Allegro
Adagio
Allegro - Adagio
William Viner (c17th–1716)
from 6 Violin Sonatas, or Six Solos for a Violin with a thorough bass for the harpsicord or bass violin compos'd by the late Mr. Viner of Dublin
Violin sonata No 3 in D minor
Grave - Allegro - Grave
Corente Allegro
Anon, published in John Playford's The Division Violin
Duke of Norfolk or Paul's Steeple
Thomas D'Urfey (c1653-1723)
from Wit and Mirth collection Pills to Purge Melancholy (1698) pub Henry Playford
Scotch Tune
We are very grateful to Andrew Durand of the Music Room Workshop at Chiddingfold for the loan of the harpsichord for this concert.
Concert duration approx: 45+ minutes
Please donate to help fund these concerts at: cafdonate.cafonline.org/14455
Nocturnalia Ensemble
Nocturnalia was founded in 2021 during the EEEmerging+ Academy at the Ambronay Festival near Lyon. These three musicians discovered musical chemistry through midnight rehearsals and improvisations on works by Schmelzer and Mozart and decided to form a permanent group.
With roots in different parts of Europe – Slovenia, Spain and Greece – Nocturnalia expresses a shared belief that early music can become extremely contemporary with the right interpretation.
Since their debut in Athens (January 2023), they have performed at European festivals including Utrecht Oude Muziek, Brighton Early Music Festival 2024, Contratemps Festival, and Chios Music Festival, as well as touring Slovenia with the Flora Carniolica programme.
They have also performed in the UK, for example at the Foundling Museum and Heath Street Baptist Church. In 2025 they were chosen as one of the ensembles to be a part of BREMF Emerging Artists Scheme. For the near future, Nocturnalia is preparing tours of Italy (Turin and Cuneo), as well as a new Mediterranean program and a CD based on archival discoveries, including violin sonatas by the Baroque Greek composer Michele Stratico.
Next January, the ensemble will join S-EEEemerging 2026–27 with artist residencies and concerts across Europe, including Helsinki, the Torroella Festival (Spain) and the Tarentaise Festival (France).
Mojca Jerman
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When I first heard JS Bach’s St Matthew’s Passion - when I was studying music history in my first year of college - I knew immediately that this is the world I want to be a part of. Baroque music, and the way it was interpreted, seemed to me another galaxy, previously unknown to me. And so the journey began, first in the Academy orchestra, playing another masterpiece, Monteverdi’s Orfeo. The journey of discovery never stopped. And it never does, once you start digging into it and you realize the impact it has on every piece, every notion you had of music before. |
Mojca Jerman (pronounced "moytsa") is a baroque and classical violinist, who is interested in exploring different genres, styles and historical aspects of musical performance.
After first graduating with the modern violin at the Academy of Music in Ljubljana (Slovenia), in the class of prof. Vasilij Meljnikov, she continued her specialisation in baroque violin at the Conservatory of Music GB Martini in Bologna. She graduated in the class of Enrico Gatti with honours.
In 2021 she was the winner of the Premio Nazionale delle Arti, the competition of all Italian Conservatories, in the Early Music category. Following this, she was presented in the well-known morning show ’Unomattina In Famiglia’ on RAI 1. Additionally, she was invited for a solo recital at Biblioteca Manfrediana in Faenza, Italy.
Her love of the craft leads her to play with many different ensembles, such us Insula Orchestra, Orchestra Anima Eterna, Orchestra Frau Musika, Musica Cubicularis and others. Mojca played under the direction of influential figures, such as Pablo Heras Casado, Andrea Marcon, Thomas Hengelbrock, Laurence Equilbey, Gary Graden and Geoffroy Jourdain.
With her own chamber groups (Piano Trio Rêverie, tacet ensemble, Messa di Voce, Nocturnalia ensemble) she has played extensively in Slovenian festivals, and throughout Europe (Paris, London, Vienna, Budapest, Athens ...) and Argentina.
Among the teachers with whom she worked and who influenced her the most are Saewon Suh, Vasilij Meljnikov, Daniel Rowland, Priya Mitchell, Chia Chou, Tomaž Lorenz, Enrico Gatti, Eva Saladin, Josephe Cottet and Chiara Banchini.
After first graduating with the modern violin at the Academy of Music in Ljubljana (Slovenia), in the class of prof. Vasilij Meljnikov, she continued her specialisation in baroque violin at the Conservatory of Music GB Martini in Bologna. She graduated in the class of Enrico Gatti with honours.
In 2021 she was the winner of the Premio Nazionale delle Arti, the competition of all Italian Conservatories, in the Early Music category. Following this, she was presented in the well-known morning show ’Unomattina In Famiglia’ on RAI 1. Additionally, she was invited for a solo recital at Biblioteca Manfrediana in Faenza, Italy.
Her love of the craft leads her to play with many different ensembles, such us Insula Orchestra, Orchestra Anima Eterna, Orchestra Frau Musika, Musica Cubicularis and others. Mojca played under the direction of influential figures, such as Pablo Heras Casado, Andrea Marcon, Thomas Hengelbrock, Laurence Equilbey, Gary Graden and Geoffroy Jourdain.
With her own chamber groups (Piano Trio Rêverie, tacet ensemble, Messa di Voce, Nocturnalia ensemble) she has played extensively in Slovenian festivals, and throughout Europe (Paris, London, Vienna, Budapest, Athens ...) and Argentina.
Among the teachers with whom she worked and who influenced her the most are Saewon Suh, Vasilij Meljnikov, Daniel Rowland, Priya Mitchell, Chia Chou, Tomaž Lorenz, Enrico Gatti, Eva Saladin, Josephe Cottet and Chiara Banchini.
Pablo Tejedor-Gutiérrez
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Pablo Tejedor-Gutiérrez (Madrid, 1994) is a cello and gamba player specialising in Historical Performance. As a solo player, he won third place at the 2023 Spanish National Early Music Competition (Jeunesses Musicales) and received the 2022 BritishSpanish Society Arts Award. Pablo has also been supported by numerous institutions, from the Excellence Scholarship of the Wilsdorf Foundation to the Société des Amis du Conservatoire de Genève or the Henry Wood and Helen Rachel Mackaness Trusts. Having studied in Spain (Aldo Mata), Switzerland (Bruno Cocset, Guido Balestracci and David Pia) and the UK (Royal College of Music), he has also attended masterclasses with Christophe Coin, Rachel Podger, Jaap Ter Linden, Sara Mingardo, Antonio Florio, Lucia Swarts, David Watkin, Jonathan Manson and Kristin von der Goltz.
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Pablo currently enjoys a busy career touring internationally, from Bolivia to Italy and from Portugal to Belgium, performing in legendary venues such as the Victoria Hall in Geneva, the Muziekgebouw in Amsterdam, and the Teatro Real and the Auditorio Nacional in Madrid as well as in prestigious festivals such as Namur, Chiquitos, Ambronay, Utrecht or Saintes. In an incessant pursuit of inspiration, Pablo has been lucky enough to take part in projects with well-known artists such as William Christie, Philippe Herreweghe, Ashley Solomon, Ophélie Gaillard, Geoffroy Jourdain, Martin Gester, Leonardo García Alarcón, Bojan Cicic and Laurence Cummings.
As principal cello, Pablo can be found playing historically informed creative bass lines (and some solo ones too) in many different ensembles specialized in repertoire ranging from Baroque to Romantic periods, including famous bands like Le Parlement de Musique or Holland Baroque, but also with the Eeemerging+/Ambronay Academy. Since 2023 he has been chosen as solo principal cello leader at the Academia Montis Regalis in Mondovì, Italy, where he works with renowned musicians such as Enrico Onofri, Amandine Beyer, Fabio Bonizzoni…
When he is not performing, Pablo researches cultural history topics, having given and published different articles and papers on the Enlightenment (National Archaeological Museum of Spain, Complutense University, Pavia University, Rey Juan Carlos, University), and teaches for different London music institutions, notably lecturing on Early Music Treatises and Sources at the Royal College of Music. Pablo was also invited to be a baroque coach for the Basque Youth Orchestra (EGO) by Lina Tur Bonet in Musikene.
Future projects include concerts on the latest recording by Holland Baroque in Germany, a production with Ensemble OrQuesta at the Monteverdi Festival in Cremona, two productions with El Parnaso Hyspano (Grimeborn Opera Festival and Cervantes Theatre), collaborating with The Queenes Chappell, the Dartington Festival Orchestra with Rachel Podger and John Butt, and making a recording devoted to the cello and fortepiano works by women composers from the 1860s. He also prepares programmes around 17th and late 18th-century music with his co-founded ensembles La Frescobalda (Festival d'Alba, Abruzzo), La Tirana (solo recitals at Festival Musique au Paradis, Horniman Museum, Sands Theatre…) and Nocturnalia (Slovenia, UK).
As principal cello, Pablo can be found playing historically informed creative bass lines (and some solo ones too) in many different ensembles specialized in repertoire ranging from Baroque to Romantic periods, including famous bands like Le Parlement de Musique or Holland Baroque, but also with the Eeemerging+/Ambronay Academy. Since 2023 he has been chosen as solo principal cello leader at the Academia Montis Regalis in Mondovì, Italy, where he works with renowned musicians such as Enrico Onofri, Amandine Beyer, Fabio Bonizzoni…
When he is not performing, Pablo researches cultural history topics, having given and published different articles and papers on the Enlightenment (National Archaeological Museum of Spain, Complutense University, Pavia University, Rey Juan Carlos, University), and teaches for different London music institutions, notably lecturing on Early Music Treatises and Sources at the Royal College of Music. Pablo was also invited to be a baroque coach for the Basque Youth Orchestra (EGO) by Lina Tur Bonet in Musikene.
Future projects include concerts on the latest recording by Holland Baroque in Germany, a production with Ensemble OrQuesta at the Monteverdi Festival in Cremona, two productions with El Parnaso Hyspano (Grimeborn Opera Festival and Cervantes Theatre), collaborating with The Queenes Chappell, the Dartington Festival Orchestra with Rachel Podger and John Butt, and making a recording devoted to the cello and fortepiano works by women composers from the 1860s. He also prepares programmes around 17th and late 18th-century music with his co-founded ensembles La Frescobalda (Festival d'Alba, Abruzzo), La Tirana (solo recitals at Festival Musique au Paradis, Horniman Museum, Sands Theatre…) and Nocturnalia (Slovenia, UK).
Alex Mastichiadis
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Alex Mastichiadis was born in 1990 in Adelaide, Australia. He started piano lessons at the age of 7 in Athens. He soon became interested in baroque music and decided that the harpsichord offered him the potential to express himself more directly than the piano.
In 2008 he started studying the harpsichord at the Music Department of the Ionian University next to Katerina Mihopoulou. After his graduation in 2014, he continued his studies as a postgraduate student at the Utrecht Music Academy with Siebe Henstra as his harpsichord professor and Reitze Smits as his ecclesiastical organ professor. He has performed all over Holland and has actively participated in seminars with Caesilia- Consert, Wilbert Hazelzet, Heiko Ter Schegget, Antoinette Lohmann, Nicovan der Meel, Alessandro Ciccolini and Bob van Asperen. During his studies he worked as an organist at the Zeist Church. Besides his love for old music, he also enjoys participating in concerts on the Amsterdam Stage for Free Improvisation and he regularly performs in concerts in Utrecht and Amsterdam. |
Recordings of the works in today's concert
Thomas Baltzar (c1630-1663) & Davis Mell (1604-1662)
from The Division Violin, pub 1684 John Playford (1623–1686)
John, Come Kiss Me Now (c1656) [7:30]
The players in this recording are Rachell Wong, baroque violin, Rogerio Shieh, baroque cello, and Anastasia Chin, harpsichord:
from The Division Violin, pub 1684 John Playford (1623–1686)
John, Come Kiss Me Now (c1656) [7:30]
The players in this recording are Rachell Wong, baroque violin, Rogerio Shieh, baroque cello, and Anastasia Chin, harpsichord:
Henry Purcell (1659–1695)
Trio Sonata in G minor Z780
Adagio - Allegro moderato - Largo - Vivace [6:50]
Instrumentation in this period was quite variable, so we have a recording which replaces the harpsichord with the organ, not the grand cathedral instrument, rather a house organ in scale. The players are members of the Academy of Ancient Music, conducted by Christopher Hogwood (who may be at the organ here):
Nicola Matteis (1650–1713)
from Ayres for the Violin, The First Part (c1676)
Preludio & Passaggio rotto Scaramuccia [2:40]
Andamente veloce
This solo piece is played in our recording by Isabelle Faust, violin. Here you get to hear the third movement, the Andamente veloce:
Christopher Simpson (c1605–1669)
Prelude and Divisions upon a Ground
There are several of these Preludes with Divisions (variations) to choose from. Unsure which one will be played at the concert, we have picked this prelude in E minor, played on the viola da gamba by American musician and ceramic artist (accomplished at both, it seems!) Marc Armitano Domingo:
Matthew Locke (1621–1677)
Suite in D minor
Fantazie • Courante • Ayre • Sarabande
Once again there are several choices here. Do we have the same one as appears in the concert? Nonetheless, this gives s flavour of Matthew Locke's work. Here we see the score, and with helpful addition of a moving line that shows exactly where we are in the music. It is spot on so you will not get lost! The piece finishes like a 1970s pop song, with the final bars repeating to fade. Nothing's new after all!
Matthew Locke
For the several Friends in D minor
Allemande • Ayre • Courante • Saraband
The performers here are Alexander Konstantinov, violin, Natalya Azarkina, viola da gamba, and Konstantin Shchenikov, archlute/theorbo and this comes from a concert in the MGU Hall of Lomonosov Moscow State University:
Henry Purcell
New Ground in E minor ZT683
Composers at this period seem quite lax in the naming of their works. Perhaps they did not expect them to have a long life. This is ZT682 which has quite a lot of recordings on youtube. Pastór de Lasala plays, from his collection, a spinet by Carey Beebe (1989) after an anonymous instrument of 1708, which is at the Royal Academy of Music, London:
Henry Purcell
Hornpipe ZT 685
Although flagged with a different Z number, this is the same Old Bachelor Hornpipe. Unless several people online have numbered theirs incorrectly, of course.
The rhythm shows this is undoubtedly a hornpipe, and there is a pipe (recorder) playing. The ensemble is Musica Gloria who are Nele Vertommen, recorder, Evan Buttar, viola da gamba, and Beniamino Paganini, harpsichord - now there's a famous surname that makes us want to ask questions!
This recording comes from the Begijnhofkerk in Antwerp, Belgium. A Begijnhof or beguinage is a community of lay sisters particular to the Low Countries.
John Walsh (1665/6-1736)
from The Compleat Country Dancing-Master (c1740)
Irish Bouree or Irish Boree
"John Walsh" where do we start? First, it is of course a common name, and it also appears to be a brand of bagpipes. Putting the composer's name and the name of the piece into youtube brings up excerpts from Fawlty Towers, as well as guitarist John Walsh, and Joe Walsh of The Eagles.
Here is an arrangement by the real 17th/18th century John Walsh, as heard in a 1742 Dublin concert arranged by a gent known only as "Mr Charles the Hungarian". Walsh included his arrangement of Handel's Water Music. The sneaky thing was that he wrote this arrangement and had it performed around Dublin while Handel was touring there. Truly commercial!
This brief performance of the Allegro comes from St Peter's Church of Ireland, Drogheda, which is also home to the Indian Orthodox Church of St Peter and St Paul, in the Syrian tradition. The musicians are the Irish Baroque Orchestra.
Here at last, some genuine John Walsh, an original piece called A Trip to Paris, written in 1711.
Gottfried (or Geoffrey) Finger (1660–1730)
from 12 Sonatas for Diverse Instruments Op 1 (pub 1688)
Trio Sonata in A major Op 1 No 3
Adagio
Allegro
Adagio
Allegro - Adagio
Born in Olomouc, in present day Czechia, Finger spent a fair number of years working in the Court of James II of England. In 1701 he moved to Wroclaw and then to several other cities, before settling in Mannheim for the final decade of his life.
The musicians in this performance are the Echo du Danube, under Christian Zincke.
William Viner (c17th–1716)
from 6 Violin Sonatas, or Six Solos for a Violin with a thorough bass for the harpsicord or bass violin compos'd by the late Mr. Viner of Dublin
Violin sonata No 3 in D minor
Grave - Allegro - Grave
Corente Allegro
Instead of the work we will hear at the concert, here is Viner's 6th Sonata which is in G minor. There is a full hour's music on this recording but this lively and demanding Sonata ends at around 8m30.
The musicians are The Beggar's Ensemble: Augustin Lusson, violin, Daria Zemele, harpsichord, and Matthieu Lusson, viola da gamba. They are performing in the Auditoriium St-Germain, the former church of that name, now part of the Conservatoire de Grand Poitiers, France.
Two short numbers to round of today's concert . . .
Anon, published in John Playford's The Division Violin
Duke of Norfolk or Paul's Steeple
Paul's Steeple, or Duke of Norfolk, from John Playford's Division Violin (London, 1685). Recorded at the Voices of Music Great Artists Concert, February, 2014. With Hanneke van Proosdij, recorder; Peter Maund, percussion; Elisabeth Reed, viola da gamba, and David Tayler, baroque guitar.
Playford's Division Violin contains many of the popular tunes of the 17th century. The musicians are provided with a set of variations over a simple, repeating bass line or "ground bass". It was left to the performers to arrange the music to taste. Paul's Steeple refers to the towering spire of the old gothic St Paul's in London; the tower had burned down before Playford's time, but was still celebrated in song, just as with "London Bridge."
Duke of Norfolk or Paul's Steeple
Paul's Steeple, or Duke of Norfolk, from John Playford's Division Violin (London, 1685). Recorded at the Voices of Music Great Artists Concert, February, 2014. With Hanneke van Proosdij, recorder; Peter Maund, percussion; Elisabeth Reed, viola da gamba, and David Tayler, baroque guitar.
Playford's Division Violin contains many of the popular tunes of the 17th century. The musicians are provided with a set of variations over a simple, repeating bass line or "ground bass". It was left to the performers to arrange the music to taste. Paul's Steeple refers to the towering spire of the old gothic St Paul's in London; the tower had burned down before Playford's time, but was still celebrated in song, just as with "London Bridge."
Thomas D'Urfey (c1653-1723)
from Wit and Mirth collection or Pills to Purge Melancholy (1698) pub Henry Playford
Scotch Tune
Finally, this is Jean-Luc Bresson with his arrangement of A New Scotch Tune, by Purcell, which comes from D'Urfey's collection of popular and often quite bawdy tunes!
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Previous concert
6 November 2025 - Basil Alter, violin, lecture-recital on Stravinsky works, with Dafydd Chapman, piano, - click here
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Next concert
20 November 2025 - St John's School bring their musical talents to LMC click here
