Tamesis Issue 253 January 2016
Sorry this issue is rather late. I was away for two weeks over Christmas and it’s
taken me all this time to catch up with the enormous backlog of emails.
There is a lot about the Sadler partbooks this month. Penny Aspden has been helping
to restore them for some time and has written us an article about it. My husband
Alan and I went for some training on how to do it before Christmas, but a combination
of Baroque Day, Greenwich, Christmas event, tax returns and problems with builders
has meant that we haven’t had time to do any work on them yet. This may be a good
thing because a month or two ago it struck me that there should be an easier way to
do it and I encouraged our computer wizard Chairman, David, to see what he could
do. He’s come up with something which looks to me as if it will be very useful so I
think I’ll wait to start now until I see what he can do when he’s finished the
programme. If you want to volunteer for something less time consuming, you’ll find a
letter on page 10 asking for help with updating and improving Wikipedia entries on
On a lighter note, so many of us enjoyed Roy Marks’s bread at the Christmas
workshop that I asked him for the recipe. There is plenty of room this month so I
haven’t edited his entertaining instructions at all. I just feel a bit guilty that he was
persuaded to make four loaves for us! Read it and you’ll see why.
There are three booking forms with this mailing. At the end of next month there will
be one of David Fletcher’s annual renaissance playing days. He’s always happy to see
new people there and if you want to play your crumhorn or renaissance flute, sing
madrigals or polyphony, have a medieval session or play in a viol consort, or indeed
play or sing anything pre-baroque, he will do his best to arrange it for you. Baroque
players are catered for in the next two events, the Purcell workshop with Peter
Holman and the baroque playing day in April. Most people play at A=415 at the
baroque days though 440 players are not excluded (and I notice there are some 415
recorders in the For Sale section), so you may be surprised that the Purcell day will be
at A=440. This is because the range will be better for the singers and the Chapel
Royal was at high pitch in Purcell’s day.
It's renewal time, and I'm glad to say that most of you have been very prompt. I sent
reminders to the remainder but if you have no email and still have the renewal form
that came with your November Tamesis you might consult you bank statement to see
if you paid. I have to say this because there have been a few cases of double
payment and we aren't in need of such charity! If you’ve got a £ sign on your address
label it means that you definitely haven’t paid. Don’t forget that a standing order
makes less work for the treasurer and membership secretary, and you in future years,
and you can download one from the forum web site.
Last month I mentioned that I do a certain amount of recreational computer
programming, and my latest project is an attempt to help with the cleaning up of the
Sadler partbooks, which are an excellent source of renaissance pieces. In common
with many manuscripts of the period, the ink has partly eaten its way through the
paper, so that the reverse side shows through to a significant extent. I'm working on
a program which takes the image of the reverse side, reflects it, aligns it with the
front side and subtracts off a proportion of the reverse image. This is showing some
promise and certainly produces a more readable page but I have more work to do.
At the end of the month we have a workshop to compare and contrast the music of
William Byrd and Thomas Tomkins, directed by Stephen Jones. Stephen has not
directed an event for TVEMF before but comes highly recommended and I'm looking
forward to the event. By the time you read this bookings will have closed but you
may still be able to pick up a cancellation, particularly if you are a tenor.
TVEMF member Vic Godrich died in November, four months after he had been
diagnosed with cancer. He played the violin with so many of us and he’ll be sadly
missed. I invited a couple of his friends to write a paragraph about him:
I have fond memories of Vic Godrich who was an able and highly versatile player with
an engaging personality. He was always friendly and welcoming in the various musical
situations in which I found myself and where he was a fellow player. I played with him
in a number of baroque groups, including those organised through TVEMF, but my
most regular and frequent meetings with him were not in the classical music
environment but in the weekly folk band at Cecil Sharp House in NW London that he
conducted from the violin. We had many fun evenings learning new folk tunes and
playing for dances and Christmas concerts at this well known folk venue, and he was
not fazed by two of us turning up to play our treble viols in amongst the accordions,
melodians, guitars, recorders and sundry other instruments making up this somewhat
quirky and eclectic ensemble. He was a keen participant and good organiser,
producing music that he had adapted to suit our instrumentation and our purpose.
Even dressing up for the part was not ruled out by this seemingly rather shy person. I
was pleased and privileged to have played with him. (Sara Churchfield)
Vic Goodrich was someone that I played early music with at varying frequent and rare
intervals over the years. As a violinist he was a better player than me and I admired
him for his playing and his very restrained attitude to leading an early music string
group. He never attempted to exploit his abilities.
Apart from early music, he had an equal interest in folk music; I particularly
remember him skipping the post- performance party after a music study week at
Cambridge to drive straight north to play in a folk festival in the Orkneys. He was also
a keen beekeeper; whenever we met I (as having a keen interest in botany if not
zoology) would ask after the health of his bees. he said that they were always in good
or very fair health, according to the season.
The last time I played with him he was obviously not well, and when I last contacted
him about playing in a future concert with our opera group he said that he had been
diagnosed with cancer but was optimistic about his outcome. He will be sadly missed
by the early string playing community in London and elsewhere. (Chris Hobson)
I was also very sorry to receive an email from her husband Ted saying that Meg
Forgan, the MEMF diary editor, had a heart attack out of the blue and died in
December. There was a celebration of Meg's life before Christmas, and among many
tributes it included two beautiful pieces of early recorder music played by ten of her
TVEMF Christmas Workshop Sunday 6th December 2015
Some 70 enthusiastic musicians gathered for TVEMF’s annual Christmas workshop on
Sunday 6th December at Amersham’s Community Centre. These are always popular
events and people had come from all over, some as far away as Cornwall and the
Channel Islands, to take part. Philip Thorby was the tutor and the title was “Music for
the Christmas Season with a pastoral theme”, not a great deal of information as to
what to expect except perhaps some shepherds. However, such is Philip’s reputation
that it was enough to tempt people to sign up. And we were not disappointed. We
were treated to an interesting selection of pieces in contrasting styles from varied
musical traditions. Yes there were shepherds but also some angels to cheer things
along, all seasoned with Philip’s pungent wit and fascinating insights.
We started with two related pieces, an eight part setting of Quaeramus cum
pastoribus by Croce, preceded by the four part setting by Mouton on which it is
based. The Mouton is a delightful piece which deserves a place in the Christmas
repertoire of any reasonably ambitious church choir. It is a gentle dialogue in which
we travel with the shepherds and ask them what they see and hear at the
stable. Then in the second part we question the Christ Child. The setting of these
questions and answers is key to understanding the nature of the piece. The subtle
rhythms, which point the phrases with unexpected rests and flowing triple rhythms
against the duple meter, make this a fascinating piece. It is Philip’s skill that he
brings these things out not didactically but by his own questions and answers which
ensure that nobody can doze off complacently and just play or sing a row of notes –
you are compelled to pay attention. Croce’s elaboration of this setting in double choir
format allows for a more explicit question and answer approach but, in my opinion,
loses some of the subtlety and simplicity of the Mouton. It is, however, very
interesting to see how a composer writing almost a hundred years later in Italy picks
up and reworks the material and the piece has its own beauty which, I think, we
managed to convey.
at Amersham with Philip Thorby
Next we moved on to two setting of Angelus ad pastores ait, a very familiar Christmas
text. We were not treated to Gabrieli’s version however but to two from the Germanic
tradition by Hassler and Scheidt. We started with the Hassler, a splendid nine part
setting with a four part higher choir and a five part lower choir. These were not
actually angels and shepherds but simply contrasting textures which Hassler deploys
very effectively. Once again Philip uncovered the details of the word setting, the
gradual expansion of the phrases, according to the principles of rhetoric, and the
rhythmic complexity used to emphasise the text. The earlier setting by Scheidt, in
two four part choirs, is in a notably different style, rather more prosaic but effective
none the less. It has a beautiful duet for the two soprano lines, dramatic tutti
sections and rapid call and answer passages between the two choirs. It took a while
to achieve the snappy timing these require but we got there in the end.
The final piece of the day was Ehr sei Gott in der Höh’ allein by Schein. Here at last
we have a choir of (high) angels singing to a choir of (low) shepherds. The four part
angels soar up to top A’s singing the praise of God while the six part shepherds plunge
down to a bottom E in their comments on the angels’ message, quite a challenge at
the end of a long day’s singing and playing. But it’s a great piece and another
contrast in style, tradition and now language, which inspired us all to rise to its
demands. Yet again, the magic is in the setting of the words, the juxtaposition of the
two choirs’ entries and the striking rhythmic patterns used to emphasise the meaning.
This was a typically enjoyable TVEMF Christmas feast, both musically and with the
traditional ‘bring and share’ lunch. Many thanks to Vicky and her team of helpers for
providing a smoothly run day and especially to Philip for producing yet another
combination of erudition, wit and enjoyable music.
Goodbye to Finchcocks
In December my husband Alan and I had the good fortune to go to the very last open
day at Finchcocks. We watched a couple of demonstrations of some of the early
pianos by Richard Burnett himself and a visiting pianist friend but then we spent the
rest of our time there trying to look at and commit to memory (and camera) the
wonderful collection of pictures, pianos, harpsichords and organs and the exhibition of
music printing tools before they are all dispersed.
About twelve instruments will be kept by the Finchcocks Charity for concerts, courses,
recordings and research, often in collaboration with museums, music colleges and
other musical organisations, but everything else including the pictures and furniture
will be auctioned by Dreweatts and Bloomsbury in Donnington Priory on 11th May.
There will be a viewing weekend at the house over the early May bank holiday when
you can go and choose a memento of the collection to bid for, or even a keyboard
instrument, and have a last look round the house.
I was amazed how calmly Richard and Katrina seemed to be taking the enormous
undertaking of selling off most of their collection and moving house after 45 years. I
felt quite upset myself and I’ve only been there for a few visits and a couple of
residential weekends (camping in the kitchen garden) in the early days of my baroque
flute playing. I’m also baffled that the National Trust have no interest in taking over
this beautiful house, with or without its unique collection. It’s so much nicer than
some of the places they’ve spent money on recently and comes complete with visitors’
facilities including a restaurant.
The early music community has so many reasons to be grateful to the Burnetts for the
wonderful job they have done restoring and maintaining their collection and making it
available to be played, studied and enjoyed. I hope it all works out well for them.
Reconstructing the Tudors
Elizabethan shakers and movers were busy in the years around 1575-80. The
navigator Martin Frobisher was in Canada searching for the northwest passage and
Francis Drake circumnavigated the world in the Golden Hind. Thomas Weelkes was
born and the ballad Greensleeves made its first registered appearance.
The more sedentary were not idle either. In Northamptonshire, the retired clergyman
and first head of Oundle school, John Sadler, took time off from his hobby of
translating Roman war manuals to compile a set of music partbooks (collections in
which each book contains music for a single voice). He copied works by household
names of the English Renaissance - such as Taverner, Morley, Byrd and Tallis - and by
lesser-known composers whose music would otherwise be unknown to us. The set
survives and is now in the Bodleian library; however, the paper has been badly
corroded by the acids in the ink he used, so the manuscript is now fragile and in parts
Eighty miles away in Windsor, John Baldwin, a professional chorister at St George’s
Chapel, was even more diligent in assembling the sixteenth century equivalent of a
massive CD collection. Later generations have cause to be grateful - we owe the
keyboard collection My Lady Nevell’s Book to him, for example. His compendium of
six partbooks is written in a beautiful legible hand, but over the centuries the tenor
part has gone missing. While some pieces can be recovered because they appear in
other manuscripts, about sixty appear nowhere else.
Consequently, scholars and performers face a reconstruction task - of the manuscript
itself or of the missing music - before they can bring these collections back to
life. Research groups at the universities of Newcastle and Oxford are the main
partners in an Arts and Humanities Research Council project to produce digitised
working copies of the partbooks, so that they can be sung and played again. And it’s
already possible to hear some results; the vocal group Stile Antico performed music
from John Sadler’s partbooks at the Oundle Festival in July 2015.
There is scope for using volunteers to help with the reconstruction process, and the
next paragraphs describe firstly my own experience with John Sadler’s partbooks,
then a recent North East Early Music Forum (NEEMF) workshop on John Baldwin’s
I’m a volunteer, one of thirty or so, on the digital restoration of John Sadler’s
partbooks. The Oxford group makes a high-resolution digital colour photograph
(around 320Mb) of each page, then uses the image editing program Photoshop to
‘clean up’ the manuscript, taking out the shadowy notes that have bled through from
the other side of the page and rebuilding small areas where the ink has eaten
completely through the paper.
The restorer’s dilemma is how far to take the cleaning process. Photoshop is a
wonderfully powerful tool, so it’s easy to get carried away and go for a scrubbed
minimalist look, forgetting that the aim is to produce legible music, not to expunge
400 years of history. Knowing when to stop is a familiar problem for painters, and
beginners slowly learn to do less as our taste matures.
Volunteers bring a variety of past experience to the process; in my case next to no
practice in reading
some playing experience
of Tudor music and a fair
track record of using
Photoshop to improve
photographs (mostly my
holiday snaps!). So the
first thing the new
volunteer needs to do is
fill in some skills gaps. In
my case that would
include recognising the
musical symbols Tudor
copyists used and what
they mean. Wikipedia
has some useful material,
but I haven’t yet found a
comprehensive guide to
handwritten signs - perhaps there isn’t one.|
|Armed with their rapidly-acquired
knowhow, volunteers then embark
on cleaning up a real page. The first
illustration is of a typical page (the
original has brown, probably
originally black, notes written on a
soft creamy-sandy coloured
paper). On this page, most notes
are pretty clear, but there is a lot of
confusion on the lowest line.
The second illustration shows, in
close-up, part of a stave on a
different page, demonstrating how
the notes, as well as the illuminated
letter I on the reverse, bleed through the paper (the segment below shows the same
part of the reverse page, cleaned up and of course back to front. It also
demonstrates John Sadler’s taste for quirky illustration).|
Perhaps the trickiest aspect is getting the notes right. Sometimes, where the ink has
completely eaten away the paper (as in the ligature halfway through illustration 2) ,
it’s impossible to be sure about even the most basic points - should this be a black
note or a white note? Does this blob signify a dotted note or is it a bleed-through
from the other side of the page, or just a random splodge on the paper? I’ve found
that playing the music clears up some of the more obvious ambiguities, but some of
my judgements must be wrong. The Oxford group has recently changed its definition
of what we do from ‘restoration’ to ‘reconstruction’ to reflect the degree of
intervention that’s sometimes needed.
Reconstructing the missing tenor part in John Baldwin’s partbooks makes quite
different demands, mainly on volunteers’ grasp of Elizabethan music theory. Those
who attended September’s NEEMF workshop in Newcastle thus did less singing or
playing than usual, though they did get chance at the end to try out their
The workshop was run by the project’s principal investigator, Dr Magnus Williamson of
Newcastle University, and feedback was overwhelmingly positive. One contributor
wrote: ‘The problem having been explained, we were given a Byrd 6-part Fantasia to
work on. There was a missing part which we had to reconstruct using our (in my case
fairly sketchy) knowledge of harmony and counterpoint … We set about, in two
groups, trying to fill in the missing part. We soon learned to look out for ‘holes’, ‘dog-legs’
and consecutive fifths and octaves - absolutely forbidden! We also had to
remember that what we wrote must be singable and not too complicated. Throughout
this process Magnus was on hand to guide us through all the technical terms and
encourage us when our resolve faltered. ‘Is that chord clean?’, ‘Is that note just a
passing note or is it an integral part of the chord?’, ‘Have I checked for hidden
consecutives?’ These questions had to be discussed and resolved in this fascinating
The day ended with a sing-through of some of the reconstruction we had attempted,
accompanied by instrumentalists. We went away with lots to think about and the
feeling that we had peeped through some doors to find intriguing things inside!
I shall never again sing an anthem by one of the Tudor composers without wondering
how much scholarship has gone into what I see on the printed page.’
Another participant summed up the day: ‘This was a fascinating but very demanding
workshop … It was very satisfying to come up with a workable solution. It was also
very enlightening to gain some insight into how Byrd worked … So what was
achieved? I don’t think I made a major contribution to research in the field! But I did
learn something of the process and of the project, and also something about the
writing of Tudor music. I came away feeling it had been a day well spent’.
Words such as ‘challenging’ and ‘demanding’ figure in many volunteers’ descriptions of
the project, but ‘fascinating’, ‘profitable’ and ‘absorbing’ aren’t far behind. Most
people widen their perspective on how composers work, and better appreciate the
headaches scholars face in bringing to us the early music we sing, play or hear. We
all also enjoy the opportunity to be involved in something we would not otherwise
have encountered. So far, anyway ...
More on the AHRC project at www.tudorpartbooks.ac.uk
Want to learn how early music was written? Free course on ‘From Ink to Sound’ on
www.futurelearn.com (in the creative arts and media category)
Dr Katherine Butler, Postdoctoral Researcher for the AHRC-funded Tudor Partbooks
Project at the Oxford University Faculty of Music writes:
Would you be interested in helping us to create, update and improve Wikipedia entries
related to Tudor music?
We're holding an edit-a-thon from 2-5pm on Friday 5th February. You can join us in
person at IT Services on Banbury Road, Oxford, or participate virtually online from
wherever is convenient for you. No Wiki editing experience is necessary (though
experienced editors are very welcome!) as tutorials will be provided for Wikipedia
newcomers by the Bodleian Library's Wikimedian-in-Residence, Martin Poulter.
If you'd like to reserve a space at the Oxford session or if you'd like to join us
remotely, please email katherine.butlermusic.ox.ac.uk to register your interest and
to let us know what entry you'd like to work on. Potential articles might include
composers, manuscripts, copyists, terminology, etc. We've posted some ideas on our
edit-a-thon page, but other suggestions are most
13-20 August 2016
Irish Recorder and Viol Course
An Grianán, Termonfechin, Ireland
Tutors: Ibi Aziz, Marion Doherty, Pamela Flanagan, Emma Murphy, Marion Scott,
A course designed for players of recorders, viols and other early instruments, covering a wide repertoire
from ancient to modern. Sessions include one-to-a-part groups, workshops, technique classes, consort songs,
trio sonatas, choir, large and small ensembles.
Further information from:
Mrs. Patricia Flanagan, 110 Kincora Avenue, Clontarf, Dublin 3, Ireland
Tel: 00 353 85 2880389
Roy’s recipe for the delicious bread we enjoyed at the Christmas workshop
A table knife.
A bread tin.
A mixing bowl.
A plastic spatula.
One hour seventeen and a half minutes
1. Bread flour. The flour I currently use is marketed as Strong Bread Flour––or even
Very Strong Bread Flour. The important word however is 'bread'––'strong' or 'very
strong' denoting only the level of maturing agents used to strengthen gluten
development and thereby speed up the rising process. Both brown flour (marketed as
wholemeal) and white flour (bleached flour but marketed as white) make perfectly
acceptable loaves; but white flour contains more strengthening additives. I am
currently using about two thirds brown and one third white.
2. Yeast. The yeast I have been using for the last twenty-five years is in granulated
form. It requires almost no effort to use and works more efficiently than the fresh
yeast I used for several years before that. A longer rising time gives bread a
stronger flavour that I do not particularly enjoy. For at least ten years manufacturers
have marketed the product under such names as Fast Action Dried Yeast or Instant
3. Salt. Salt should be used according to taste. For me it enhances the general flavour
of the loaf without producing the yeasty flavour one gets from prolonging the rising
process. I currently use enough to form a small mountain in the centre of the palm of
4. Additives. These are also a matter of personal taste. I have always added sunflower
and pumpkin seeds, and am currently adding walnut pieces too.
5. Water. This needs to be warm to speed up the rising process; but not so hot that it
kills the yeast.
6. Butter. Although this is only to grease the tin, the butter should be the best butter
on the market – and fresh. Why spoil a loaf by giving it a rancid crust?
Take a knob of butter from the fridge and place it to warm in a bread tin.
Put the flour and yeast and salt into a mixing bowl and mix well with a plastic spatula.
I have used a few such implements for mixing – a wooden spoon for many years and
more lately the silicone bladed ones – but have found a firm but soft-edged plastic
one best. The important thing it should be strong enough to mix the dough, but soft-edged
for getting the dough out of the mixing bowl, for one should never touch the
flour with one's hand – especially when it has become dough.
Add seeds and nuts to taste, and stir in.
Add warm water. The quantity should be such that one can mix the flour into a dough
without using one's hands – strong wrists are an asset. It is not crucial: the final loaf
will only be rather moist if the dough is too sloppy, and rather dry if too stiff. There
may also be pockets of flour left if the dough is too stiff. The whole process should be
done as quickly as possible, and stopped the moment all of the flour has been made
into a dough.
Generously grease the bread tin, and tip (or pour, or slide) in the dough. There should
be enough room in the tin for the dough to rise slightly above the top of the tin after
having almost doubled in size. There is no need to form the dough into a loaf shape,
smooth it out, or even to even it up – it will rise into a very nice shape all on its own.
Place the tin of dough somewhere out of a draft and preferably somewhere slightly
warm – I use a shelf that is underneath a cupboard with under-cupboard lighting –
and leave to rise for about half an hour.
When the dough has nicely risen slightly above the top of the tin, gently place it in a
pre-heated oven for at least another half an hour. I use the word 'gently' to dissuade
sudden movement or abrupt change of temperature that may cause the dough to
collapse. This is particularly so if the dough is slightly sloppy. On my current oven,
baking takes approximately thirty-seven and a half minutes at one hundred and sixty-two
and a half degrees.
Turn out onto a cooling rack.
Tips and myths
Making bread is tedious. That is why most people do not do it. Besides not enjoying
the brewery-like taste of bread that has taken too long to make, I have efficiency in
mind at every stage of the process.
Do not touch the flour – and more especially the dough. Flour – and more especially
dough – sticks to one's hands and gets everywhere.
Do not grease the tin until the dough is mixed: butter fingers make gripping a spatula
Using fresh yeast is messy and time consuming, and the stuff that one can buy today
no longer makes a nice loaf.
There is no need to knead the dough: nothing happens to it that will not happen if left
Only make more than one loaf under protest. Flour and water do not mix easily, and
you will find that the struggle to turn flour into dough increases considerably should
one attempt to make more than a single loaf.
Knocking back for a double rising is ill-advised: besides being time-consuming, it
merely prolongs the rising time. Anything that lengthens the baking process will tend
to give the bread an unpleasantly strong yeasty flavour.
Wash the mixing bowl, knife, and spatula immediately, using only your fingers; and
throw the washing-up water away straight away afterwards. Although dough is
initially unpleasantly sticky, it soon dries so hard that washing-up takes much longer.
There is no need to not wash the bread tin. A generous greasing should prevent the
bread sticking to the tin. If not, buy a new tin that is the most expensive one you can
Use a timer, but turn the oven on immediately having put the dough to rise anyway.
Having made the effort to make a loaf, it is frustrating to find the oven cold when the
dough has nicely risen.
Should one find oneself in that position, do not wait for the oven to heat up for more
than a few minutes. Dough that has risen too far usually collapses, gets everywhere,
and tastes yeasty.
Indeed, if one is in a hurry, one can almost dispense with the rising process
altogether. The warmth of an oven heating up will rapidly accelerate the process, and
it will take some time before the heat is sufficient to kill the yeast – especially for it to
penetrate to the centre of the dough. Such a loaf – where the outside stops rising
before the inside – produces the so-called split tin loaf.
Eating bread when it is still hot from the oven does not give one indigestion.
Opportunities to make music
ST MICHAEL’S CHORALE
A friendly chamber choir for amateur singers with a particular emphasis on early and
renaissance liturgical music, including plainchant. Rehearsals Wednesdays,
7pm 8.30pm, in London EC1, close to Barbican (tube) and Farringdon stations.
Enquiries welcome from interested singers at all levels. Contact: Janet Cowen
(Secretary) janet.cowenkcl.ac.uk, or Tom Shorter (Director) tomshorterlive.co.uk.
* * *
I’ve never had time to go to Polyphony Down the Pub but I hope to one day. You will
find more information about them on polyphonydownthepub.com and if you’re curious
you can hear a short Radio 3 item about it, complete with music at this web site:
https://soundcloud.com/user-723076806. I suspect it may not be there much longer.
The next meetings are on 8th February and 7th March and you need to book and
download your music in advance.
* * *
21st March is the European Day of Early Music. More info from
http://earlymusicday.eu/. If you do anything special on that day – play in or go to a
concert for example, I’d be interested to hear about it. It seems to be a rather
neglected event in this country.
available from teacher with over 18 years experience.
Whether you are looking to pass exams, diplomas,
improve your continuo playing, or just want to learn for fun,
lessons are designed to suit individual needs.
Please call Katharine May (GRSM Hons, ARCM) on 01628 783272 or email
I teach in Carshalton, Surrey, by the Suzuki method for all ages from 3 and a half,
to produce excellence in tone from the start.
Please contact me on 07557 958823 or alysonellimanaol.com
I was rather surprised to learn that Handel House is now calling itself Handel &
Hendrix in London because the Jimi Hendrix flat next door is going to be permanently
open from 10th February. There is a new web site: www.handelhendrix.org
There will be two performance spaces, the Rehearsal & Performance Room in Handel’s
house and the new Studio.
Thursday 21 January 6.30-7.30pm Dieupart in Britain
Fernando Miguel Jalôto (harpsichord). Charles Dieupart: Suittes de Clavessin,
Thursday 28 January 6.30-7.30pm Pleasure and Pain
Jane Wilkinson (soprano) and Anne Marshall (harpsichord). Henry Purcell, Handel, JS
Tuesday 2 February 6.30-7.30pm BHS and BCS: The Maverick Bachs
Steven Devine (harpsichord). Music by CPE Bach and WF Bach
Thursday 4 February 6.30-7.30pm Mythical Visions
Aidan Philips (harpsichord).
Thursday 11 February 6.30-7.30pm Fantasy
Mirjam Münzel (recorders)
Tuesday 16 February 1-2.30pm and 3.30-5pm Recorder Masterclass with Dorothee
Oberlinger. Olwen Foulkes (recorders), Mirjam Münzel (recorders)
Thursday 18 February 6.30-7.30pm Froberger: his art and influence
Satoko Doi-Luck (harpsichord)
Thursday 25 February 6.30-7.30pm Baroque Odyssey
Eleanor Minney (mezzo-soprano). Works by Rameau, Charpentier, Handel and Purcell
Thursday 3 March 6.30-7.30pm The World of JS Bach
John Crockatt (violin)
Monday 7 March 6.30-8pm Stanley Sadie lecture: Handel and London's Playhouse
Stars. Handel scholar Dr Berta Joncus
Tuesday 8 March 6.30-7.30pm BHS: Star Instruments
Marie van Rhijn (harpsichord). Byrd, Marais, Forqueray
Thursday 10 March 6.30-7.30pm Directed by Handel
Olwen Foulkes (recorder), Nathaniel Mander (harpsichord). Works by Corelli,
Dieupart, and Sammartini
Thursday 17 March 6.30-7.30pm Handel on Two Harpsichords
Nicholas Jackson and Graham Jackson (harpsichords)
Handel: Passacaille in G minor arr. for two Harpsichords by Nicholas Jackson, Suite for
Two Harpsichords in C minor (Chaconne completed by Nicholas Jackson), Bach:
Contrapuncti 12a & 12b for two harpsichords ‘The Art of Fugue, Mozart: Duet Sonata
in C Major K19d, Fantasia in F minor K594 for a Mechanical Organ inside a Clock,
Tomkins: A Fancy for 2 to play, Soler: Concerto No.6 in D major for two Harpsichords
Friday 18 March 11am-12.30pm Masterclass: Violin with Amandine Beyer
Amandine Beyer (violin), John Crockatt (violin)
Saturday 19 March 2-4pm BHS: Harpsichord Masterclass
Nathaniel Mander (harpsichord) and others
Thursday 24 March 6.30-7.30pm Virtuosity in the Early Baroque
The Barokers: Lucía Veintimilla (violin), Jennifer Tsang (recorder), Isabel Esain (viola
da gamba), Yeon-Jeong Jeong (harpsichord). Uccellini, Castello, van Eyck,
Frescobaldi, Schmelzer, Marini
Thursday 31 March 6.30-7.30pm Mr & Mrs Arne
Arcata Baroque: Elin Harries (soprano), Carina Drury (cello), Nathaniel Mander
Thursday 7 April 6.30-7.30pm Pièces en Concert
Trio Aporia: Stephen Preston (flute), Richard Boothby (viola da gamba), Jane
Chapman (harpsichord). Works by Rameau, Edwin Hillier, Geoffrey Poole and Duncan
Tuesday 12 April 6.30-7.30pm BHS: The Splendour of Venice
Carole Cerasi (harpsichord). Works by Picchi, Storace, JS Bach, Vivaldi and Galuppi
Thursday 14 April 6.30-7.30pm Much Ado About Music
Baroque Encounter: Glenn Kesby (counter tenor), Lauren Brant (recorders), David
Beaney (recorders), Claire Williams (harpsichord)
Thursday 21 April 6.30-7.30pm The World of the Sun King
Ensemble Ste. Geneviève: Emily Atkinson (soprano), Ben Sansom (violin), Mary Pells
(viola da gamba), Martin Knizia (harpsichord)
Sunday 24 April 2-3.30pm Signor Corelli’s Violin
The Brook Street Band: Rachel Harris, Farrah Scott (violins), Tatty Theo (cello),
Carolyn Gibley (harpsichord)
Thursday 28 April 6.30-7.30pm The Harp at Chiswick House
Serafina Steer (harp)
Friday 29 April 11am-12.30pm and 1-3pm Harpsichord Masterclass with Menno van
Delft. Aidan Phillips (harpsichord), Satoko Doi-Luck (harpsichord)
Bookings 020 7399 1953 https://www.arttickets.org.uk/handel-house-museum
Contact 020 7495 1685 mailhandelhendrix.org
Wednesday 13 January – August
A Year in the Life of Handel: 1723 – the year in which Handel took up residence in his
Brook Street home.
Opening hours Tuesday-Saturday 10am-6pm (8pm on Thursday), Sunday 12pm-6pm.
Last admission 30 minutes before closing. Closed on Mondays and Bank
Holidays. From Wednesday 10th February open every day (not Good Friday) 11am
6pm, Sunday 12-6pm. Last admission 5pm.