Music on Thursdays
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2022 Mole Valley
Arts Alive Festival
Incantati
Rachel Stott
viola d'amore/viola/composer
Ibrahim Aziz
viola da gamba
Programme
Johann Sebastian Bach (1685-1750)
Two-part Inventions
No1 in C major BWV 772 (1720)
No2 in C minor BWV 773 (1720)
Georg Philipp Telemann (1681-1767)
from Der getreue Music-Meister
Sonata in D major for solo Viola da Gamba TWV 40:1 (1728-29) [11:20]
Emily Lenore Doolittle (b1972)
Gardenscape (2020)
for solo viola d’amore with backing track
recorded on the violin by Ruta Vitkauskaite
JS Bach
Two-part Inventions
No 4 in D minor BWV 775 (1720)
No 14 in Bb major BWV 785 (1720)
Rachel Stott (b1968)
from Three Glass Kings for solo viola d’amore (2015)
King Alfred & King Arthur
played on englische violet
Richard Cornell (b1946)
Reis Glorios Variations (1972)
for solo viola da gamba
JS Bach
Two-part Inventions
No 11 in G minor BWV 782 (1720)
No 10 in G major BWV 781 (1720)
Aria of the Goldberg Variations BWV 988/1 (?1740)
Concert duration approx: 45 minutes
This concert is dedicated to the memory of Emma Murphy, recorder player, member of Incantati.
Please donate to help fund these concerts at: cafdonate.cafonline.org/14455
incantati
Rachel Stott viola d’amore
Ibrahim Aziz viola da gamba
incantati brings together instrumental timbres which were used in the baroque
period to represent enchantment or otherworldliness, whether it be the touch of the
supernatural, the moment of falling in love, or the departure into the next world.
The viola d’amore’s ethereal quality enhances moments of spirituality in both religious music and opera. In the Passions by JS Bach, the viola da gamba’s delicate
sound accompanies the departure of Christ from life on earth. These sonorities come together in incantati to create a uniquely charming sound, with each of the instruments clearly distinguishable, yet complementing each other.
Ibrahim Aziz viola da gamba
incantati brings together instrumental timbres which were used in the baroque
period to represent enchantment or otherworldliness, whether it be the touch of the
supernatural, the moment of falling in love, or the departure into the next world.
The viola d’amore’s ethereal quality enhances moments of spirituality in both religious music and opera. In the Passions by JS Bach, the viola da gamba’s delicate
sound accompanies the departure of Christ from life on earth. These sonorities come together in incantati to create a uniquely charming sound, with each of the instruments clearly distinguishable, yet complementing each other.
Rachel Stott
Rachel’s career has been divided between performing wet ink manuscripts on modern instruments, interpreting faded manuscripts on period instruments, and creating entirely new manuscripts for both kinds of instruments.
She is a long-standing member of the Bach Players and the Revolutionary Drawing Room, lively and spontaneous ensembles which eschew the hazards of a sedentary lifestyle by performing on two feet. She also performs music from the 18th to 21st centuries with Incantati, (viola d’amore and viola da gamba,) and early 19th century repertoire wiih Trio Notturno (flute, viola, guitar).
Rachel’s own compositions include four string quartets, song cycles to poems by Thomas Campion and Stevie Smith, and an opera for children, The Cuckoo Tree, based on the novel by Joan Aiken. Less conventional works include a tone poem, Odysseus in Ogygia, for six viola d’amores, Dark Arts in a Stony Place, an evocation of occult practices in a 16th century convent, for four trumpet marines, and
Several World, a fugal piece for a hundred gleaming saxophones.
Aside from writing and performing music, Rachel enjoys walking, reading, baking and acquiring new skills. She has studied Ancient Greek in an adult education class and learned to pluck a goose in Western Canada. www.rachelstottcomposer.co.uk
She is a long-standing member of the Bach Players and the Revolutionary Drawing Room, lively and spontaneous ensembles which eschew the hazards of a sedentary lifestyle by performing on two feet. She also performs music from the 18th to 21st centuries with Incantati, (viola d’amore and viola da gamba,) and early 19th century repertoire wiih Trio Notturno (flute, viola, guitar).
Rachel’s own compositions include four string quartets, song cycles to poems by Thomas Campion and Stevie Smith, and an opera for children, The Cuckoo Tree, based on the novel by Joan Aiken. Less conventional works include a tone poem, Odysseus in Ogygia, for six viola d’amores, Dark Arts in a Stony Place, an evocation of occult practices in a 16th century convent, for four trumpet marines, and
Several World, a fugal piece for a hundred gleaming saxophones.
Aside from writing and performing music, Rachel enjoys walking, reading, baking and acquiring new skills. She has studied Ancient Greek in an adult education class and learned to pluck a goose in Western Canada. www.rachelstottcomposer.co.uk
Ibrahim Aziz
Ibrahim Aziz specialises in the performance of renaissance, baroque and contemporary music for the viola da gamba, having studied with Alison Crum at Trinity College of Music, London.
He became a member of the Rose Consort of Viols and now works with other consorts and ensembles worldwide. He has recorded two CDs for First Hand Records as a
solo artist and has appeared on classical labels BIS, Delphian, Resonus Classics and others with other groups.
Ibrahim’s playing has been praised by Gramophone, BBC Music Magazine, The Independent and the American Record Guide. He has worked for many distinguished musicians and concert venues worldwide. www.ibiaziz.com.
He became a member of the Rose Consort of Viols and now works with other consorts and ensembles worldwide. He has recorded two CDs for First Hand Records as a
solo artist and has appeared on classical labels BIS, Delphian, Resonus Classics and others with other groups.
Ibrahim’s playing has been praised by Gramophone, BBC Music Magazine, The Independent and the American Record Guide. He has worked for many distinguished musicians and concert venues worldwide. www.ibiaziz.com.
Jonathan Hill, luthier
London-based Jonathan Hill is a luthier who makes fine instruments like those we will hear in today's concert (though not these particular examples).
You will find a short video of this young craftsman at work on his website www.jonathanhill-luthier.com/about
You will find a short video of this young craftsman at work on his website www.jonathanhill-luthier.com/about
2022 Mole Valley
Arts Alive Festival
Recordings of the works in this concert
Johann Sebastian Bach (1685-1750)
Two-part Inventions
No1 in C major BWV 772 (1720) [1:40]
No2 in C minor BWV 773 (1720) [1:40]
Our performance of the C major and C minor inventions is played on a clavichord. In this instrument the metal hammers strike the strings. It is a small sound.
The player in Kanji Daito, and the instrument is
Two-part Inventions
No1 in C major BWV 772 (1720) [1:40]
No2 in C minor BWV 773 (1720) [1:40]
Our performance of the C major and C minor inventions is played on a clavichord. In this instrument the metal hammers strike the strings. It is a small sound.
The player in Kanji Daito, and the instrument is
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Georg Philipp Telemann (1681-1767)
from Der getreue Music-Meister
Sonata in D major for solo Viola da Gamba TWV 40:1 (1728-29) [11:20]
from Der getreue Music-Meister
Sonata in D major for solo Viola da Gamba TWV 40:1 (1728-29) [11:20]
Emily Lenore Doolittle (b1972) [4:35]
Gardenscape (2020)
for solo viola d’amore with backing track,
recorded on the violin by Ruta Vitkauskaite
Are you ready to close your eyes and to listen for sounds from a Gardenscape? What are you hearing in this unusual lockdown work?
Ruta Vitkauskaite, for whom this work is written, is the performer on this recording:
Gardenscape (2020)
for solo viola d’amore with backing track,
recorded on the violin by Ruta Vitkauskaite
Are you ready to close your eyes and to listen for sounds from a Gardenscape? What are you hearing in this unusual lockdown work?
Ruta Vitkauskaite, for whom this work is written, is the performer on this recording:
JS Bach
Two-part Inventions
No 4 in D minor BWV 775 (1720) [1:20]
No 14 in Bb major BWV 785 (1720)
First we shall hear Kanji Daito, this time on a 2-manual harpsichord, and for the Bb major, on the same instrument, 15 year old Frank Monster. These recordings are part of the Netherlands Bach Society project All of Bach. You will find more information about the project on AllOfBach.com
Two-part Inventions
No 4 in D minor BWV 775 (1720) [1:20]
No 14 in Bb major BWV 785 (1720)
First we shall hear Kanji Daito, this time on a 2-manual harpsichord, and for the Bb major, on the same instrument, 15 year old Frank Monster. These recordings are part of the Netherlands Bach Society project All of Bach. You will find more information about the project on AllOfBach.com
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Richard Cornell (b1946)
Reis Glorios Variations (1972)
for solo viola da gamba
Richard Cornell's variations on Reis Glorios are performed here by viol player Sarah Cunningham,
Reis Glorios Variations (1972)
for solo viola da gamba
Richard Cornell's variations on Reis Glorios are performed here by viol player Sarah Cunningham,
JS Bach
Two-part Inventions
No 11 in G minor BWV 782 (1720) [2:05]
No 10 in G major BWV 781 (1720)
We remain with the Netherlands Bach Society and their All Of Bach project for this performance on 2-manual harpsichord. 16 year old Johannes Asfaw plays the G minor Invention, while 13 year old Peiting Xue performs the last of these Inventions in our concert.
Two-part Inventions
No 11 in G minor BWV 782 (1720) [2:05]
No 10 in G major BWV 781 (1720)
We remain with the Netherlands Bach Society and their All Of Bach project for this performance on 2-manual harpsichord. 16 year old Johannes Asfaw plays the G minor Invention, while 13 year old Peiting Xue performs the last of these Inventions in our concert.
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JS Bach
Aria of the Goldberg Variations BWV 988/1 (?1740)
The legend surrounding the 'Goldberg Variations', performed here by Jean Rondeau for All of Bach, is such a nice one. Count Hermann Karl von Keyserlinck was having trouble sleeping and asked Bach for some pleasant music to pass the time, to be played by Keyserlinck’s harpsichord prodigy Johann Gottlieb Goldberg.
Aria of the Goldberg Variations BWV 988/1 (?1740)
The legend surrounding the 'Goldberg Variations', performed here by Jean Rondeau for All of Bach, is such a nice one. Count Hermann Karl von Keyserlinck was having trouble sleeping and asked Bach for some pleasant music to pass the time, to be played by Keyserlinck’s harpsichord prodigy Johann Gottlieb Goldberg.
Previous concert
Gwenllian Llyr, harp - click here
Next Thursday's concert
Flutes & Frets Duo - click here
