Music on Thursdays
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Thursday 2nd May 2024
12.30 lunchtime
Trio Notturno
Rachel Stott, viola
Eva Caballero, flute
Jamie Akers, guitar
with Reader: Nichola Blakey
Programme
ORA DI PRANZO
Early Romantics
Francesco Molino (sometimes François, 1768-1847)
Theme and Variations Op 18
Wenzel (Wenzeslaus) Thomas Matiegka (1773-1830)
from Notturno for flute, viola and guitar Op 21 (1807)
3 Lento e Patetico
Carl Ludwig Heinrich Berger (1777-1839)
Sonata for Guitar, Flute and Viola Op 8
Moderato; Cantabile
Variations 1-4
Allegro molto
Anton Diabelli (1781-1858)
Andante
Rachel Stott (b1968)
Omens
Franz Josef Haydn (1732-1809)
from Baryton Trio in A minor Hob XI:87 (c1790)
3 Minuet (A minor)
Ludwig van Beethoven (1770-1827)
arr pour Guitarre, Violon et Alto par Matiega
from Serenade for String Trio (String Trio No 2) in D major Op 8 (1796-97)
4 Allegretto alla "Polacca", Polonaise, (F major)
Concert duration approx: 45-50 minutes
scroll down the page for recordings of today's music
Please donate to help fund these concerts at: cafdonate.cafonline.org/14455
Trio Notturno
Eva Caballero, flute
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Jamie Akers, guitar
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Rachel Stott, viola
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Trio Notturno was formed to explore the repertoire for flute, viola and guitar from the early romantic period. In the 1800s, the guitar became popular for domestic music-making as well as developing as a solo concert instrument in the hands of several prominent virtuosi. The gentle-toned flute and the warm resonant viola combined with the guitar to create the perfect drawing room ensemble, for which composers of the time wrote sonatas, serenades and nocturnes.
In comparison with the modern guitar, the guitars of the romantic period have a less forceful but warmer sound. Whilst possessing a smaller stature, they often have an extended range, with extra strings and frets to broaden their musical possibilities. The flute of this period is made of wood rather than metal and the viola is strung with gut-core strings, both contributing to a softer, more intimate sound.
Though much of the repertoire for flute, viola and guitar is associated with Vienna, Trio Notturno also explores music by Italian, German, Spanish and Ukrainian composers who travelled and performed across Europe during the 19th century. In those days before recorded music, chamber music arrangements of popular orchestral and operatic works made it possible for music enthusiasts to ‘take home’ the highlights of such works, in the way that modern audiences can relive enjoyable concert experiences by playing a CD in their living rooms. Trio Notturno's repertoire includes such arrangements, featuring music of Mozart and Meyerbeer, as well as trios by Diabelli, Molino and Berger, and arrangements of Beethoven by Matiegka.
Trio Notturno also presents performances of music combined with the spoken word, after the fashion of the time, and contemporary works written especially for early romantic period instruments. The Trio performs house concerts, in the Viennese tradition, as well as public concerts in music series and festivals. Trio Notturno plan to record an album of unjustly neglected musical gems from their repertoire in the near future.
In comparison with the modern guitar, the guitars of the romantic period have a less forceful but warmer sound. Whilst possessing a smaller stature, they often have an extended range, with extra strings and frets to broaden their musical possibilities. The flute of this period is made of wood rather than metal and the viola is strung with gut-core strings, both contributing to a softer, more intimate sound.
Though much of the repertoire for flute, viola and guitar is associated with Vienna, Trio Notturno also explores music by Italian, German, Spanish and Ukrainian composers who travelled and performed across Europe during the 19th century. In those days before recorded music, chamber music arrangements of popular orchestral and operatic works made it possible for music enthusiasts to ‘take home’ the highlights of such works, in the way that modern audiences can relive enjoyable concert experiences by playing a CD in their living rooms. Trio Notturno's repertoire includes such arrangements, featuring music of Mozart and Meyerbeer, as well as trios by Diabelli, Molino and Berger, and arrangements of Beethoven by Matiegka.
Trio Notturno also presents performances of music combined with the spoken word, after the fashion of the time, and contemporary works written especially for early romantic period instruments. The Trio performs house concerts, in the Viennese tradition, as well as public concerts in music series and festivals. Trio Notturno plan to record an album of unjustly neglected musical gems from their repertoire in the near future.
Eva Caballero
Originally from Barcelona, Spain, Eva Caballero was awarded a scholarship to study at Trinity College of Music, London, with Daniel Pailthorpe. Towards the end of her BMus (Hons) degree, she discovered the baroque flute with Stephen Preston and continued her studies on historical flutes with Lisa Beznosiuk at the Royal Academy of Music.
Eva took part in the Ann and Peter Law OAE Experience in 2009. After that she completed the Formation Supérieure with Jeune Orchestre Atlantique, in France, an orchestral and chamber music training in classical and romantic repertoire on period instruments. Langrée, Minkowski, Herreweghe, Lonquich and Malgoire were some of the conductors on these projects.
Her work involves performing in London-based ensembles and a variety of orchestras, including Solomon’s Knot, The Mozartists, The Sixteen, Gabrieli Consort & Players, Orchestra of the Age of Enlightenment and Armonico Consort among others. She has also given recitals at the Handel Hendrix House, Raynham Hall, the Wallace Collection and St. Martin-in-the-Fields and more.
Collaborating with dance and theatre companies, she has worked on improvisation and modern techniques performing in the Tête à Tête Opera Festival and IV Festiwal Atelier in Poznan, Poland.
She has also taken part in various recordings such us An English Coronation and Elijah with Gabrieli Consort and Players, St Matthew Passion with English Baroque Soloists, Il Sogno di Scipione and Grabmusik, Bastien und Bastienne with The Mozartartists and Complete Solo Soprano Cantatas, JS Bach with Armonico Consort.
Eva has won numerous awards as a chamber music performer in the UK and Spain including XIII Paper de Música de Capellades, Premi Ciutat Manresa, IX Pòdiums de St Joan de Vilatorrada and the Anglo-Czech Trust Competition.
Eva is also an enthusiastic educator and works as a flute teacher in North London primary and secondary schools as well as North London Conservatoire.
Eva took part in the Ann and Peter Law OAE Experience in 2009. After that she completed the Formation Supérieure with Jeune Orchestre Atlantique, in France, an orchestral and chamber music training in classical and romantic repertoire on period instruments. Langrée, Minkowski, Herreweghe, Lonquich and Malgoire were some of the conductors on these projects.
Her work involves performing in London-based ensembles and a variety of orchestras, including Solomon’s Knot, The Mozartists, The Sixteen, Gabrieli Consort & Players, Orchestra of the Age of Enlightenment and Armonico Consort among others. She has also given recitals at the Handel Hendrix House, Raynham Hall, the Wallace Collection and St. Martin-in-the-Fields and more.
Collaborating with dance and theatre companies, she has worked on improvisation and modern techniques performing in the Tête à Tête Opera Festival and IV Festiwal Atelier in Poznan, Poland.
She has also taken part in various recordings such us An English Coronation and Elijah with Gabrieli Consort and Players, St Matthew Passion with English Baroque Soloists, Il Sogno di Scipione and Grabmusik, Bastien und Bastienne with The Mozartartists and Complete Solo Soprano Cantatas, JS Bach with Armonico Consort.
Eva has won numerous awards as a chamber music performer in the UK and Spain including XIII Paper de Música de Capellades, Premi Ciutat Manresa, IX Pòdiums de St Joan de Vilatorrada and the Anglo-Czech Trust Competition.
Eva is also an enthusiastic educator and works as a flute teacher in North London primary and secondary schools as well as North London Conservatoire.
Jamie Akers
Critically acclaimed musician James Akers was hailed as ‘the great Scottish guitarist’ by Classical Guitar Magazine and, in a review from Gramophone, his playing was described as, 'containing all the warmth, colour and expressive richness one could hope for.' Throughout a varied career James has explored music from a historical and stylistic perspective, combining diligent research with expressive performances to communicate the continuity of musical endeavour through the centuries.
James was born in Scotland and began playing guitar at the age of 10. He was largely self-taught before having lessons with Robert Mackillop at Napier University, Edinburgh. Whilst at Napier, he turned his attentions to playing period instruments and pursued this as his principal study at the Royal College of Music, with Jakob Lindberg. James completed his studies at Trinity College of Music, studying with Jacob Heringman and David Miller, with additional lessons and advice from Paul O'Dette and Elizabeth Kenny.
As a soloist James has performed throughout Europe, the USA, the Middle East, and Australia. Widely active as a chamber musician, he has accompanied leading singers and vocal groups including Dame Emma Kirkby, Miriam Allan, I Fagiolini, Ex Cathedra, Stile Antico, Solomon’s Knot, the Dunedin Consort and the Marian Consort and instrumental groups such as Fretwork, Chelys Viol Consort and The Rose Consort of Viols.
As a continuo player, James has worked for many major opera companies including, English National Opera, Welsh National Opera, Opera North, Glyndebourne, and Innsbruck Festival Opera as well as orchestras and ensembles including The Scottish, Irish and English Chamber Orchestras, Northern Sinfonia, the Orchestra of the Age of Enlightenment, the Royal Scottish National Orchestra, The Ulster Orchestra, and The Essen Philharmonie.
James has performed on numerous recordings, film soundtracks, theatrical stages, and broadcast for the BBC, France Musique and RTE Lyric, Ireland.
James lectures in early plucked strings at the Royal Conservatoire of Scotland.
James was born in Scotland and began playing guitar at the age of 10. He was largely self-taught before having lessons with Robert Mackillop at Napier University, Edinburgh. Whilst at Napier, he turned his attentions to playing period instruments and pursued this as his principal study at the Royal College of Music, with Jakob Lindberg. James completed his studies at Trinity College of Music, studying with Jacob Heringman and David Miller, with additional lessons and advice from Paul O'Dette and Elizabeth Kenny.
As a soloist James has performed throughout Europe, the USA, the Middle East, and Australia. Widely active as a chamber musician, he has accompanied leading singers and vocal groups including Dame Emma Kirkby, Miriam Allan, I Fagiolini, Ex Cathedra, Stile Antico, Solomon’s Knot, the Dunedin Consort and the Marian Consort and instrumental groups such as Fretwork, Chelys Viol Consort and The Rose Consort of Viols.
As a continuo player, James has worked for many major opera companies including, English National Opera, Welsh National Opera, Opera North, Glyndebourne, and Innsbruck Festival Opera as well as orchestras and ensembles including The Scottish, Irish and English Chamber Orchestras, Northern Sinfonia, the Orchestra of the Age of Enlightenment, the Royal Scottish National Orchestra, The Ulster Orchestra, and The Essen Philharmonie.
James has performed on numerous recordings, film soundtracks, theatrical stages, and broadcast for the BBC, France Musique and RTE Lyric, Ireland.
James lectures in early plucked strings at the Royal Conservatoire of Scotland.
Rachel Stott
Rachel Stott lives and works in London. She attended Wells Cathedral School and read music at Churchill College, Cambridge, taking composition classes with Hugh Wood and Robin Holloway. She then pursued postgraduate studies at the Guildhall School of Music and Drama, studying viola with David Takeno and Michaela Comberti, but also managing to infiltrate classes in composition, ethnomusicology, jazz and early music, thus gaining a broader education than was perhaps intended by the establishment.
Rachel has pursued a career as violist and composer, performing with both contemporary and early music ensembles and writing for a diverse range of instruments, including viols, cornetts and sackbuts, lutes, ocarinas, viola d’amore and baryton, as well as the more conventional instruments of the modern orchestra.
She has composed song cycles, string quartets, (No 1 for the Fitzwilliam Quartet, No 2 for the Dante Quartet and No 3 for the Callino Quartet), chamber music works, orchestral works and an opera for children, The Cuckoo Tree, based on the book by Joan Aiken.
Her music has been performed at London's South Bank, Wigmore Hall, St John’s Smith Square, festivals across the UK, and in continental Europe, North America and Japan. A record-breaking work, Odysseus in Ogygia, for an ensemble of six violas d’amore, was presented at the 2012 Viola d’amore Congress in Innsbruck, and in the same year Several World, for massed saxophones, was performed at the World Saxophone Congress in St Andrews, Scotland.
Ideas for Rachel’s compositions have come from a wide range of sources: historical, artistic, literary, scientific and medical, including a music theatre piece about the Jewish East End, a vocal and instrumental work which connects the Queen’s accession with the history of the Great Western Railway, and an instrumental piece describing the procedure of Endoscopic Retrograde Cholangio Pancreatography.
In 2003 she held a residency as a composer at Blackpool Victoria Hospital, funded by the Performing Right Society Foundation, which led to Gulliver’s Ear for string trio, inspired by watching an operation on the ear.
Rachel is the viola player of the Revolutionary Drawing Room, the Bach Players, the duo Sopriola (soprano and viola d’amore). She also teaches school age children in north London.
Aside from her professional work Rachel enjoys walking, swimming, baking and reading. She attends an adult education class in Ancient Greek and recently learned how to pluck a goose.
Rachel has pursued a career as violist and composer, performing with both contemporary and early music ensembles and writing for a diverse range of instruments, including viols, cornetts and sackbuts, lutes, ocarinas, viola d’amore and baryton, as well as the more conventional instruments of the modern orchestra.
She has composed song cycles, string quartets, (No 1 for the Fitzwilliam Quartet, No 2 for the Dante Quartet and No 3 for the Callino Quartet), chamber music works, orchestral works and an opera for children, The Cuckoo Tree, based on the book by Joan Aiken.
Her music has been performed at London's South Bank, Wigmore Hall, St John’s Smith Square, festivals across the UK, and in continental Europe, North America and Japan. A record-breaking work, Odysseus in Ogygia, for an ensemble of six violas d’amore, was presented at the 2012 Viola d’amore Congress in Innsbruck, and in the same year Several World, for massed saxophones, was performed at the World Saxophone Congress in St Andrews, Scotland.
Ideas for Rachel’s compositions have come from a wide range of sources: historical, artistic, literary, scientific and medical, including a music theatre piece about the Jewish East End, a vocal and instrumental work which connects the Queen’s accession with the history of the Great Western Railway, and an instrumental piece describing the procedure of Endoscopic Retrograde Cholangio Pancreatography.
In 2003 she held a residency as a composer at Blackpool Victoria Hospital, funded by the Performing Right Society Foundation, which led to Gulliver’s Ear for string trio, inspired by watching an operation on the ear.
Rachel is the viola player of the Revolutionary Drawing Room, the Bach Players, the duo Sopriola (soprano and viola d’amore). She also teaches school age children in north London.
Aside from her professional work Rachel enjoys walking, swimming, baking and reading. She attends an adult education class in Ancient Greek and recently learned how to pluck a goose.
Recordings of the works in today's concert
Francesco Molino (sometimes François, 1768-1847)
from Grand Trio Concertant Op 30 (c1823)
Theme and Variations
We could be opening the year of concerts with our youngest contributor here! This is Jacob Barton, July 2014, in Stratford Ontario, playing a different work, from Molino's Opus 18. But where is he now?
from Grand Trio Concertant Op 30 (c1823)
Theme and Variations
We could be opening the year of concerts with our youngest contributor here! This is Jacob Barton, July 2014, in Stratford Ontario, playing a different work, from Molino's Opus 18. But where is he now?
Her comes the Opus 30 work. We will only hear the first movement, the Theme and Variations, at the concert. You have the opportunity here to listen to the complete work, which some judge to be the finest chamber work of the period to include the guitar.
I can't help thinking the staging is poor in the Opus 30 recording that follows. Dark colours against a brown stage ? We must try not to be put off by that as we listen to this performance by "D' Amore": Olavo Tengner Barros, flauta de 8 chaves (8-key flute), Jean-Loup Lecomte, viola, Mário Carreira, viola francesa (guitar).
The Theme & Variations follow the 2m30 (approx) Larghetto.
I can't help thinking the staging is poor in the Opus 30 recording that follows. Dark colours against a brown stage ? We must try not to be put off by that as we listen to this performance by "D' Amore": Olavo Tengner Barros, flauta de 8 chaves (8-key flute), Jean-Loup Lecomte, viola, Mário Carreira, viola francesa (guitar).
The Theme & Variations follow the 2m30 (approx) Larghetto.
Wenzel (Wenzeslaus) Thomas Matiegka (1773-1830)
from Notturno for flute, viola and guitar Op 21 (1807)
3 Lento e Patetico
Who should know best how to perform the work than the Matiegka Trio, Mathias von Brenndorff, Tetsuya Hayashi, and Masayuki Kato :
Carl Ludwig Heinrich Berger (1777-1839)
from Sonata for Guitar, Flute and Viola Op 8
I Moderato; Cantabile
Our performers here, in an echoey Italian church, are Trio Lotus, comprising Chiara Pavan, flauto, Silvia Rossi, viola, and Marco Calzaducca, chitarra/guitar. Here too, we have the chance to hear the complete work, while at the concert we will hear just the first movement.
Anton Diabelli (1781-1858)
Andante
This unusual recording comes from Valéry Sauvage who lives in the little town of Melle, in the southern part of the French département of Deux-Sèvres.
Remember Ségolène Royal, the Socialist Presidential candidate in2007 ? She comes from Melle too.
Valéry Sauvage is playing a period guitar here, a restored Italian romantic instrument from 1820.
Rachel Stott (b1968)
Omens
As so often happens with new music we have not found a recording of Omens. So here comes another recording of Rachel's own composition. This will give you a feel for her style. Odysseus in Ogygia for
Franz Josef Haydn (1732-1809)
from Baryton Trio in A minor Hob XI:87 (c1790)
3 Minuet (A minor)
First, let's find out what exactly is a 'baryton', how does it sound, why did Haydn write for it, and what is its peculiarity (apart from having 6 strings).
Kenneth Slowik, curator of the Musical Instrument Collection at the National Museum of American History and artistic director of the Smithsonian Chamber Music Society, covers all of that in less than two minutes !
Then we are ready to hear members of the Esterházy Ensemble perform the Minuet:
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Ludwig van Beethoven (1770-1827)
arr pour Guitarre, Violon et Alto par Matiega
from Serenade for String Trio (String Trio No 2) in D major Op 8 (1796-97)
4 Allegretto alla "Polacca", Polonaise, (F major)
Today's final work is played by the 'Trinity Trio of Miami'. They are Karrie Griffiths, flute, Viera Borisova, viola, and Miguel Bonachea, guitar. This recording comes from a live performance at First Presbyterian Church, Vero Beach, Florida, in November 2014.
Sometimes we trip over interesting items as we research recordings for our concerts.
The work below comes from a different Rachel Stott (same spelling) while she was studying at Edinburgh's Heriot Watt University. Nowadays she is in London as creative director for a social media company. She is certainly creative . . .
The work below comes from a different Rachel Stott (same spelling) while she was studying at Edinburgh's Heriot Watt University. Nowadays she is in London as creative director for a social media company. She is certainly creative . . .
Previous concert
25 April 2024 - touring from Italy, classical guitar duo Maurizio Baudino & Dario Vannini click here
Next concert
9 May 2024 - Jason Ma, cello, & Julian Chan, piano - click here
