Music on Thursdays
at Leatherhead Methodist Church
12.30 lunchtime
Venue: LMC - Leatherhead Methodist Church please use the town's Swan Centre multi-storey or Church Street/Waitrose car parks, about 5-7 minutes walk from LMC in Church Road |
Sponsor: Julie West Solicitor Supported by: Leatherhead Concert & Arts Society 
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Programme
Giovanni Girolamo Kapsperger (c1580-1651)
from Libro quarto d'intavolatura di chitarrone (1640 Rome) Toccata VIII in G major Tenore Canario Canary Bellerofonte Castaldi (1580-1649) from Capricci a Due Strumenti cioè Tiorba e Tiorbino (Modena 1622) Mascherina Canzone Mask song Arpesca Gagliarda (theorbo solo) Ascanio Mayone (c1565-1627) Toccata Quarta per il Cimbalo Cromatico (harp solo) Kapsberger Passacaglia Castaldi Quagliotta Canzone Giovanni de Macque (1548/1550-1614) Partite sopra Ruggiero (harp solo) Castaldi Capriccio detto Spagnolino Canzona detto Hermafrodito Allessandro Piccinini (1566-c.1638) Ciaccona in Partite Varie Concert duration: 30-35 minutes |
Free Concert, with a retiring collection to cover costs. Tea and coffee will be available after this concert.
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Aileen Henry, harp
Aileen Henry is quickly gaining a reputation as one of the foremost exponents of the baroque harp, as both a soloist and as a continuo player. She is currently studying the baroque harp with Mara Galassi at the Civica Scuola di Musica Claudio Abbado in Milan.
Originally from Northern Ireland, Aileen moved to London to pursue an undergraduate degree at Trinity Laban Conservatoire of Music and Dance, studying with Gabriella Dall’Olio and Frances Kelly, followed by a postgraduate degree at the same institution during which she was a TL scholar. While active as a solo and orchestral modern harpist, it is as a performer of baroque music that she is particularly esteemed.
Aileen has recently been working with groups such as English Touring Opera, Kantanti Ensemble, Glyndebourne Youth Opera and is a founding member of Lux Musicae London.
Aileen's harp is based on a 17th century triple-strung harp, so it has three rows of strings, the outer two correspond to the white notes of the piano and the inner row to the black notes. In Italy, at the time, they were interested in musical aesthetics from classical antiquity. Toby's lute and Aileen's harp would have been seen to correspond to the ancient Greek lyre and kithara.
Originally from Northern Ireland, Aileen moved to London to pursue an undergraduate degree at Trinity Laban Conservatoire of Music and Dance, studying with Gabriella Dall’Olio and Frances Kelly, followed by a postgraduate degree at the same institution during which she was a TL scholar. While active as a solo and orchestral modern harpist, it is as a performer of baroque music that she is particularly esteemed.
Aileen has recently been working with groups such as English Touring Opera, Kantanti Ensemble, Glyndebourne Youth Opera and is a founding member of Lux Musicae London.
Aileen's harp is based on a 17th century triple-strung harp, so it has three rows of strings, the outer two correspond to the white notes of the piano and the inner row to the black notes. In Italy, at the time, they were interested in musical aesthetics from classical antiquity. Toby's lute and Aileen's harp would have been seen to correspond to the ancient Greek lyre and kithara.
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Toby Carr, lute / theorbo
A lutenist and guitarist from London, Toby Carr is known as an engaging and responsive artist, performing with some of the finest musicians in the business. Having studied at Trinity Laban and the Guildhall School he is now active as a soloist, continuo player and chamber musician.
Toby has worked with organisations such as the Royal Ballet, Dunedin Consort, London Philharmonic Orchestra, RTE Symphony Orchestra and Irish Baroque Orchestra. He has played for English Touring Opera for seasons in 2016, 2017 and 2018 as well as working for Longborough Festival Opera, Glyndebourne Youth Opera and in 2019 he made his Wigmore Hall debut with Dame Emma Kirkby and Dowland Works.
Settled in south-east London with his wife and frequent collaborator, baroque harpist Aileen Henry, Toby’s interests outside of music include cooking and travelling, though when not working he generally tries to do as little as possible.
Toby has worked with organisations such as the Royal Ballet, Dunedin Consort, London Philharmonic Orchestra, RTE Symphony Orchestra and Irish Baroque Orchestra. He has played for English Touring Opera for seasons in 2016, 2017 and 2018 as well as working for Longborough Festival Opera, Glyndebourne Youth Opera and in 2019 he made his Wigmore Hall debut with Dame Emma Kirkby and Dowland Works.
Settled in south-east London with his wife and frequent collaborator, baroque harpist Aileen Henry, Toby’s interests outside of music include cooking and travelling, though when not working he generally tries to do as little as possible.
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Concert at Home
If you cannot be with us at the lunchtime concert
you can enjoy a similar Concert at Home by clicking through the video buttons below:
you can enjoy a similar Concert at Home by clicking through the video buttons below:
Giovanni Girolamo Kapsperger (c1580-1651)
from Libro quarto d'intavolatura di chitarrone (1640 Rome)
Toccata VIII in G major
We open with a performance by Jakub Mitrík, recorded in the Evangelical Church, Levoča, Slovakia:
Giovanni Girolamo Kapsperger (c1580-1651)
Tenore del Kapsperger Kapsberger's Tenor
After the lute Preludio in this recording, we hear the harpsichord (cembalo) play the recurring tenor line on which the piece is built. The performers are La Venexiana, comprising Michele Palomba, tiorba (theorbo),
Chiara Granata, arpa (harp), and Claudio Cavina, cembalo e direzione (harpsichord and director)
Giovanni Girolamo Kapsperger (c1580-1651)
Canario Canary
The performers here are Robert Cases, theorbo, and
Diego López, tombak (as you see from its shape, a tonbak is a goblet drum, popular in Afghanistan):
Bellerofonte Castaldi (1580-1649)
from Capricci a Due Strumenti cioè Tiorba e Tiorbino (Modena 1622)
Mascherina Canzone Mask song
Fulvio Garlaschi, tiorba, and Filippo Lesca, tiorbino, and the performers here. The 'tiorbino' had a short period of popularity in the late 16th century. It is putched an octave higher than the theorbo, and is said to have a sound somewhere between a lute, a baroque guitar and a harp:
Bellerofonte Castaldi (1580-1649)
from Capricci a Due Strumenti cioè Tiorba e Tiorbino (Modena 1622)
Arpesca Gagliarda (theorbo solo)
The theorbo player here is Arash Noori. A graduate of Yale and the Juilliard School, Arash currently serves as Adjunct Professor of Early Music at University of North Texas, College of Music:
Ascanio Mayone (c1565-1627)
Toccata Quarta per il Cimbalo Cromatico (harp solo)
This is certainly the piece, on its original instrument (or as close as we can get), the chromatic harpsichord (cimbalo cromatico) which had 19 divisions to the octave instread of today's 12. Sadly we are not told the name of the performer:
Kapsberger
Passacaglia
This performance by Fred Jacobs comes from the modern Bimhuis, Amsterdam - which is usually a jazz and imrpov venue:
Castaldi
Quagliotta Canzone
Stephen Stubbs is the lutenist here, with Maxine Eilander laying baroque harp 'arpa doppia':
Giovanni de Macque (1548/1550-1614)
Partite sopra Ruggiero (harp solo)
Ana Zauner-Pagitsch plays baroque harp in this recording:
Castaldi
Capriccio detto Spagnolino
Once again we hear the Duo Castaldi, Fulvio Garlaschi, theorbo, and Filippo Lesca, tiorbino:
Castaldi
Capriccio detto Hermafrodito
This recording by the Duo Castaldi was made in the Querini Stampalia art museum, Venice
Allessandro Piccinini (1566-c.1638)
Ciaccona in Partite Varie
Baroque guitar was mentioned earlier. Here we have the opportunity to see and hear one being played in this Chaconne and variations. Anna Kowalksa plays Baroque guitar, with Anton Birula, theorbo:
We hope you have enjoyed your Concert at Home.
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Directions to LMC
Leatherhead Methodist Church a concert each week to the end of November
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