Music on Thursdays
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Thursday 31st July 2025
12.30 lunchtime
Venue: Leatherhead Methodist Church KT22 8AY
Parking: Swan Centre multi storey KT22 7RH
Yeo Yat-Soon
harpsichord
Programme
Joseph-Nicolas-Pancrace Royer (1703-1755)
from Premier livre de Pièces de Clavecin (1746)
1 La Majesteuse, courante
Guillaume Du Fay (1397-1474)
arrangement of the love ballad
Se la face ay pale (c1434)
Gilles Binchois (c.1400-1460)
arrangement of ‘Je loe Amours’ (c1420)
Jeloymors I praise love
Orlando Gibbons (1583-1625)
The Lord of Salisbury his Pavin MB 20/18
from Parthenia (1612-13)
Galliard MB20/25
Two pieces written for Anne-Jeanne Boucon (1708-1780)
Jacques Duphly (1715-1789)
from Premier livre de Pièces de Clavecin (1744)
10 La Boucon
Jean-Baptiste Barrière (1707-1747)
from Livre VI Sonates et Pièces pour le Clavecin (1745)
La Boucon
Orlando Gibbons
The Kings Juell MB20/36
Lincolnes Inne Maske MB20/44
The Queenes Command MB 20/28
Domenico Scarlatti (1685-1757)
Sonata in A major (Kk.24) Allegro
George Frideric Handel (1685-1759)
from Suite No 7 in G minor HWV 432 (before 1720)
6 Passacaille/Passacaglia
Concert duration approx: 45+ minutes
Please donate to help fund these concerts at: cafdonate.cafonline.org/14455
Joseph-Nicolas-Pancrace Royer (1703-1755)
from Premier livre de Pièces de Clavecin (1746)
1 La Majesteuse, courante
Guillaume Du Fay (1397-1474)
arrangement of the love ballad
Se la face ay pale (c1434)
Gilles Binchois (c.1400-1460)
arrangement of ‘Je loe Amours’ (c1420)
Jeloymors I praise love
Orlando Gibbons (1583-1625)
The Lord of Salisbury his Pavin MB 20/18
from Parthenia (1612-13)
Galliard MB20/25
Two pieces written for Anne-Jeanne Boucon (1708-1780)
Jacques Duphly (1715-1789)
from Premier livre de Pièces de Clavecin (1744)
10 La Boucon
Jean-Baptiste Barrière (1707-1747)
from Livre VI Sonates et Pièces pour le Clavecin (1745)
La Boucon
Orlando Gibbons
The Kings Juell MB20/36
Lincolnes Inne Maske MB20/44
The Queenes Command MB 20/28
Domenico Scarlatti (1685-1757)
Sonata in A major (Kk.24) Allegro
George Frideric Handel (1685-1759)
from Suite No 7 in G minor HWV 432 (before 1720)
6 Passacaille/Passacaglia
Concert duration approx: 45+ minutes
Please donate to help fund these concerts at: cafdonate.cafonline.org/14455
Musician
Yeo Yat-Soon was born in London of Chinese parents. He gained a Master’s degree in Historical Musicology from King’s College London, and pursued postgraduate studies in Harpsichord and Conducting at the Guildhall School of Music, where he won the Raymond Russell Prize for Harpsichord.
He performs widely as a solo harpsichordist, specializing in presenting programmes in historic contexts, performed in historical buildings. Regular venues include the Chapel Royal at Hampton Court Palace, Handel House Museum and Strawberry Hill House in the UK, and Kammersaal Friedenau and the Instrument Museum in Berlin.
Yat-Soon also specializes in baroque opera and has conducted for London Baroque Opera, City of London Festival and Opéra de Baugé. He plays with the ensembles Follia, Bloomsbury Baroque and Camerata Berolinensis (Berlin). His latest project, re-creations of meetings between Chinese and European musicians in the 17th and 18th centuries with the group Divertissements Chinois, received a prestigious grant from the Continuo Foundation.
Yat-Soon has broadcast for BBC Radio 3 and Classic FM and for BBC1, BBC4 and Channel 4 television. He has also had a long association with education, having been Director of Music at St Paul’s Girls’ School and The Lady Eleanor Holles School. He currently teaches harpsichord, coaches chamber music and lectures on Historical Performance Practice at the University of Birmingham.
To follow Yat-Soon’s latest updates please see: www.yeoyat-soon.org
He performs widely as a solo harpsichordist, specializing in presenting programmes in historic contexts, performed in historical buildings. Regular venues include the Chapel Royal at Hampton Court Palace, Handel House Museum and Strawberry Hill House in the UK, and Kammersaal Friedenau and the Instrument Museum in Berlin.
Yat-Soon also specializes in baroque opera and has conducted for London Baroque Opera, City of London Festival and Opéra de Baugé. He plays with the ensembles Follia, Bloomsbury Baroque and Camerata Berolinensis (Berlin). His latest project, re-creations of meetings between Chinese and European musicians in the 17th and 18th centuries with the group Divertissements Chinois, received a prestigious grant from the Continuo Foundation.
Yat-Soon has broadcast for BBC Radio 3 and Classic FM and for BBC1, BBC4 and Channel 4 television. He has also had a long association with education, having been Director of Music at St Paul’s Girls’ School and The Lady Eleanor Holles School. He currently teaches harpsichord, coaches chamber music and lectures on Historical Performance Practice at the University of Birmingham.
To follow Yat-Soon’s latest updates please see: www.yeoyat-soon.org
Recordings of the works in today's concert
Joseph-Nicolas-Pancrace Royer (1703-1755)
from Premier livre de Pièces de Clavecin (1746)
1 La Majesteuse, courante [1:00]
Luckily for our purposes, this is a sales demonstration, by Joaquin Fuster, of the 1977 harpsichord he is selling. Just a little private recording he made. And yes, he did find a buyer!
from Premier livre de Pièces de Clavecin (1746)
1 La Majesteuse, courante [1:00]
Luckily for our purposes, this is a sales demonstration, by Joaquin Fuster, of the 1977 harpsichord he is selling. Just a little private recording he made. And yes, he did find a buyer!
Guillaume Du Fay (1397-1474)
arrangement of the love ballad
Se la face ay pale (c1434) [4:15]
Here is the complete song, sung by the trio Capilla Flamenca
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Old French (as sung)
Se la face ay pale, La cause est amer, C’est la principale, Et tant m’est amer. Amer, qu’en la mer Me voudroye voir. Or scet bien de voir La belle a qui suis Que nul bien avoir Sans elle ne puis. S’ay pesante malle De deuil a porter. Ceste amour est male Pour moy deporter; Car soy deporter Ne veult de vouloir Fors qu’a son vouloir Obeisse et puis Qu’elle a tel pooir, Sans elle ne puis. C’est la plus reale Qu’on puist regarder, De s’amour leiale Ne me puis guarder. Fol sui d’agarder Ne faire devoir D’amours recevoir Fors d’elle, je cuis. Se ne veil douloir, Sans elle ne puis. |
Modern French
Si j’ai le visage pâle, La cause en est l’amour, C’est la principale (raison), Et il m’est si amer D’aimer, qu’en la mer Je voudrais me voir. Maintenant elle sait bien, en vérité, La belle à qui j’appartiens Que je ne puis avoir Nul bien sans elle. Mais j’ai un lourd bagage De douleur à porter. Cet amour est hostile À me donner du bonheur Car elle ne veut renoncer À vouloir que je n’obéisse Qu’à sa volonté, Et puisqu’elle a un tel pouvoir, Je ne puis vivre sans elle. C’est la plus souveraine Qu’on puisse regarder; De l’aimer loyalement, Je ne peux m’empêcher. Je suis fou de me préoccuper Et de me mettre en devoir De recevoir des amours Sauf de sa part, je pense. Si je ne veux pas souffrir, Je ne puis vivre sans elle. |
English Translation
If I am pale, The cause is love This before all, And bitter I find it. So bitter, that in the sea I would rather see myself. Now, well she knows The beauty to whom I belong That without her No good can come of me. I have a heavy load Of grief to carry. This love is hard For me to bear; Because for me to amuse myself She does not permit Nothing but her own desire Must I obey, and since she has such a power Without her I cannot live. She is the most regal lady That one can be see, From loyal love I cannot stray. Fool I am to stay To not do what I must But, receive love From others than her and I burn If pain I want not, Live without her I cannot. The prettiest and the most beautiful. |
In this era it was usual to compose settings of the Mass based on popular music, giving the "tune" to one of the tenor pars. In this setting by Du Fay, the 2nd tenor has the original melody, but it is sung with quite long notes, while the other parts weave around it.
If you are interested to hear the reeult:
This recording of the 'Kyrie' (Lord, have mercy) from Du Fay's Mass on Se le face ay pale is sing by the ensemble Chiaroscuro: Nicholas Clapton, alto, Mark Padmore, tenor I, Nigel Rogers, tenor II and Richard Wistreich, bass. When they reach the "Christe, eleison" line, this Tenor II is silent.
If you are interested to hear the reeult:
This recording of the 'Kyrie' (Lord, have mercy) from Du Fay's Mass on Se le face ay pale is sing by the ensemble Chiaroscuro: Nicholas Clapton, alto, Mark Padmore, tenor I, Nigel Rogers, tenor II and Richard Wistreich, bass. When they reach the "Christe, eleison" line, this Tenor II is silent.
Gilles Binchois (c.1400-1460)
arrangement of ‘Je loe Amours’ (c1420)
Jeloymors I praise love [2.35]
The piece is played here by two lutenists, Marc Lewon & Paul Kieffer:
Orlando Gibbons (1583-1625)
The Lord of Salisbury his Pavin MB 20/18 [5:30]
from Parthenia (1612-13)
Galliard MB20/25 [2:35]
My Lord Salisbury's Pavane is played beautifully here, on piano, by Eudald Buch.
That is followed by an organ performance of the Galliard with Aldo Locatelli
Two pieces written for Anne-Jeanne Boucon (1708-1780)
Jacques Duphly (1715-1789)
from Premier livre de Pièces de Clavecin (1744)
10 La Boucon [2:15]
Jean-Baptiste Barrière (1707-1747)
from Livre VI Sonates et Pièces pour le Clavecin (1745)
La Boucon [3:10]
The Duphly tribute to this fine lady is performed by Dan Tidhar, a Cambridge musicologist and harpsichord player who appeared in one of our concerts before the lockdowns. He is playing at a celebration in Wolfson College, Cambridge, for the 300th anniversary of the composer's birth.
Jean-Baptiste Barrière (1707-1747)
from Livre VI Sonates et Pièces pour le Clavecin (1745)
La Boucon [3:10]
Barrière's tribute is more spectacular so we thought you might enjoy seeing how that looks on the printed page. We will hear just the first 3 minutes or so, but you may wish to hear more of this 20 minute recording. Here is the playlist:
La Boucon [00:00]
La Plancy [03:12]
La Duchesne [05:50]
La Dupont [00:09:16]
La Casamajor [12:15]
La Tribolet [15:25]
Disappointingly, the performer is not named on YouTube.
Orlando Gibbons
The Kings Juell MB20/36
Lincolnes Inne Maske MB20/44
The Queenes Command MB 20/28
More Gibbons! Of course, it's the 400th anniversary of his death this year.
First comes an unusual arrangement of the Kings Juell, for trumpet. It's not a loud trumpet! The player is Amos Lee.
Orlando Gibbons
Lincolnes Inne Maske MB20/44 [3:18]
Aldo Bova plays recorder, with Ken Hannaford on harp for this recording of the Lilncoln's Inn Masque:
Orlando Gibbons
The Queenes Command MB 20/28 [1:35]
This recording is by Christopher Hogwood, founder of The Academy of Ancient Music, and co-Founder of the Early Music Consort (with David Munrow).
Domenico Scarlatti (1685-1757)
Sonata in A major (Kk.24) Allegro [2:30]
The pianist with the light touch here is Szymon Nehring. He is performing at the Arthur Rubinstein International Piano Master Competition, an international piano competition held in Tel Aviv every three years, specializing in the classical music championed by Arthur Rubinstein.
We are not allowed to share the performance version of this recording, in which you can watch Szymon playing, but if you'd prefer that to the music score, here is the llink: https://youtu.be/UDI8cKqtxNw?si=FHMYrxz9t2flUNtC
There is also a recording on accordion where the Polish player, Nikodem Sobek, performs brilliantly:
https://youtu.be/fTC5gi3xbvk?si=QY7LviNVV3sG4681
https://youtu.be/fTC5gi3xbvk?si=QY7LviNVV3sG4681
George Frideric Handel (1685-1759)
from Suite No 7 in G minor HWV 432 (before 1720)
6 Passacaille/Passacaglia [5:20]
Our final piece has a spectacular opening, and is performed here by Fernando Cordella
from Suite No 7 in G minor HWV 432 (before 1720)
6 Passacaille/Passacaglia [5:20]
Our final piece has a spectacular opening, and is performed here by Fernando Cordella
Previous concert
24 July 2025 - Trio Reinecke - clarinet, viola, piano click here
Next concert
4 September 2025 - Buck Brass Trio - trumpet, horn, bass trombone- click here
