UNIVERSITY COLLEGE & HOSPITAL CHAMllER MUSIC CLUB
U I t P B R S f t Y C Q L L O G B LONDON, GOWPR STUART W C I
- E U l T O N 7050
FIRST CONCERT OF THE, YEA8
Thursday 11 &f;ob&r 1984
the ,Hal,dme RQom.. .(off the North CloiatsFs)
5.3Q-6.30 pm
&ere will be a concert Followed by bhe opportunity of meeting the other
membera of the Club. Refreshmnta after the concert w i l l be available,
Gregor Joseph Werner
Concerto a tre in G major
Allegf o
Adagio
- Flute
- Cello
-
Sara Greaves
Vf o l i n
Caroline Mddletan
Piano
Barah Smith
h d r i kquet
@ a ~ t ~in$ D &JOT
Alla breve
-
for FXute, Violin, @lJd .,and. Piano
Sarah Smfth
~ n d r 6Wuet
--Flute
C&110
-
Sara W e a v ~ Violin
-
W o l i n e -Mhdletm
- Fi@W
S t a f f , studen%= and others wasking at ~ f v ~ ~ s mllege
i t y and the &&pita1
$ire warmly LnwiEed. ,A spacial weloome to new atudw~ta.
U N I V E R S I T Y C O L L E G E P HOSPITAL C I I A M 1 ) E R M U S I C C L U R
u w I v m a s t y r C O L L E ~ ~ LBO N I Z O W . a n w a r n t ~ % q w~c rj currtrar 7 0 5 0
-
W A N E ROOM
( o f f the North Cloistere)
Trio in C Major Hob. XXI
Adagio pastorale
- vivace
Finale
msai
Andants awlto
- presto
Cello: Sally Maitlis
Violin: Charles Jennings
Piano: Gertrude Keir
*a$
Itdfan 80nga
Dalente inimagine df fill@ &a
Bellhi
...
.
V a g a lung &be inmgent-i
Bellhi
.
Pempbai
Se tu m t &
Voice: Gabriella Highmwa
Piguro: Bavid Howard
Saqata in A Majar og. qQ2 for p i a m a d vi03in
Allegro w b l l e
ISrahm
Andante traaquillo
AUsgxetto g~aziorso
Violin: J i l l Davis
P i a m : Ch;pia Brannick
Staff, students and all working at 73niversfQ Collqge w d the R~wpitala r e
mm1y i n v i t e d ,
D a t e of the next
G Q ~ B :F ~Thyrsday
22 No~emberat
C l w i ~ k m eC s n ~ w tand P e t y : Thurs&y 13 Debemher
5-30,p in the Hal&&$r Born
- ante
chahge of W e .
HALDAME 8OOM
( o f f the Worth Cbi&era l
Concept Crust
h a e r t o KtJlkler
on a k l o d y by Schube~t Op 67
Jonathan Fry
Elizabeth Taylor
Flutes.
Piano
',.
*
-
Geoffrey Whi tworth
Three Italian Son@
Dolente imagine d i f i l l e mia
Bslldni
Vaga luna che inwganti
Bellf nf
Se tu m'mi
Pergolsai
uto
GahrieXle Highman
Prelude ii C sharp minor
Op
Piano
T ~ i oin I3 f l a t major
andante
K
3 No
John Lindon
Piano
2
Wick A l e x a n d e ~
b z a rt
498 for c l q ~ i n e t ,v b f a add piano
Henust and Trio
U'begrstts
v
. .-'
,, ,,
CIwLaet
Mark Liacey
P i m
Viola
B
6 Whl*
John Lindon
l hmpith tiwe
&aff, students and a l l wot-king at lhiwers5ty &Ale@ a ~ the
wqPaly i n o i t , ~ d .
~
R
I WACBET
s ~
- 8Adml%laion
pm in the C 1 ~ i s t s i . a
by ticket only
-
9.10
in the H;&DD4@
THURSDAY 13th DECEMBER 1984
--. . WOATB
CLOISTERS
CHAMBER MUSIC CLUB CHRISTMAS CONCERT AT 8-00 PM
The progrwe will feature
:
ChPfetm Concerto
Beatus Vir
The mB%31' Antha (Rejof ce in the Lord 1
A krleatlbn crf cwola for bhdfr only, as well
Mi for choir, aueiienw and ISPeMLtPI*
Perfmod by the Chanrber Muaicr Club ~rvttstmasChbir md Orehatra
leader Mi dhael Duchmj dipeator" David HWWQ
Mith the Tadige Sin~errl direatd~ knnir PLm
-
CONCERT AT 8 PH I W THE CLQISEEJl9 F81,EFi
PARTY IW THE HALDAIE ROOM AT 9.15 PM
TICKET €1.90
.
- The
Rejof ee in t h e Lord
-
'Bell Anthem
Purcell
Tenor Dermis Pim Baar A l a n Birchenough
Alto
Gabrislls Mgbm
'Eke CMG Qn.ristma5 Choir alid O m h ~ t r a Leader, Michael Ducheh
David Howard Director
-
-
-
-
-
Four Qkriakmas &mm
Carol - G d
-
mait
ye merry gentlemen
Budf ems,
'Cfst.htaas m?cmo
Wir
- Mchael
SBXQ violin@.
and ereheat~a
hetern, Helen Hew, Cells
With the Cb¶C Wf s a a s & a k a t r s
CampAty pi,-
- with molr and
0 cme, a11
PABm
-
B.15.
k m k in advance
- Mlan Sant
brellf
- D i ~ e c t ~ rDavid
,
hard
Orcrlllestra
faithful
- g 1 . 3 0 f r ~ m : H e l m WW ( Z m l u g j ) ,
h ~ i Id h m ~ d(Pfi~mtf-
-
H d l f ~ ~E IfQ u B ~ ) ,
GabrfslPe %@man [Qso@apImy), Bnh Wekrnoa ( ~ h w ~ l o g y , 0 3 - 3 7 6 1
m
GPsavea C-bneki), Gertrude k i p (55 Foatsr Cou~t,Ol-574)melt Al@xawdlr (Civil minwswl'
Pl&zmraeaamber bo h P i x y ymur CiWtar w%tm you.
only be ,aPaw MI aala g f i %he ~ Q O P .
There w i l l
FIRST CONCERT OF THE TERM
TUESDAY 22 JANUAWY 1985
-
5.30
-
6 - 3 0 bm
HALDME ROOM
Qp 23 in A minor
SONATA FOR PIAWQ AND VTOLIbl
Allegro w l t o
Andante Scherzoso piu Allegretto
Pres t 0
-9
Vialln
SONATA FOR
-
Michael Duchen
-
Nicalas. Coldstream
Q
-
CLARINET BPID PIANO
Clarinet
-
Hanu
Maloolm Arnold
JustfneC&~r-&ion
Fiat10 -
I at tempt Prem love
s i c k m to
~ fly
JoWLin&on
3 SOWS BY FURCELL
Paireat Ia le
Hark the echoing air
Tell me
William b y e
lovely Zhephend
TWO SQNGS BY ARTHUR SULLIVAN
Qk
%&J $hou had 'st hemkened
'-r -
'.
Soprano
-
Orphkua w i t h h i s lute
Jean L;allinpsworth
Piano
-
David Howard
Staff and students working at Unive~bf
ky Gollege or kh@ Hpspi,tal ape
warl-ly welcomed.
Date of next conosrt
-
TIIURSDAY 14 FEBRUARY 1985 a t 5 .SO PPI kn the
HALDAME BOOM.
UIY~VPROITY
C O L ~ E G EP W Q ~ P I T A C~ ~ I A M B E A
ktusle C ~ U R
U N I V ~ ~ ~ IC TO L
P L B ~ EL O M & O W , s o w u ~s r r r R T w c t
nuqrt># 7 a 5 ~
-
IM THB HALDAME ROOM
Two itma from Bikalic,a1, k
.
~
The L m d ' is my Shaphs~d
b 4
No 5 I w i l l rs:%nga new amg
Tria i n C
Miplop
Beethoven
-
Andanbe can.tabLle
Mnmtto quasi filqg~e
-
Thee
Op 1 W 3
Allegro dm biio
Violin
unto
-
Jane Stee,r
PYe s$lnaimo
Ce-110
Pfao
-
can Variaei ani
-
Wlen S a n t
Hicodaa Cald&rm.am
m n d e n b u ~ gW ~ e ~ t'No
b4
Allegro
-
Solo V i o l i n : Michael mahen
Violins :
Ann
kbchrnon
Gf na Watkina
1
b
: Fiona W e t
J S hch
h&&nba
-
&eat0
Solo Flutes : &rah Smith , donathan Fry
Sarah Greaves
Tim Ellerhy
hvid&ward a t the harpaiahoFd
'Phis harpalct3ord has ktndly been lent by Hark Ransome.
S t a f f , e t u d e h t s and a l l w a ~ k i n-at
~ University College and 'the Hospikal are
warmly ihvited .
s#mtar mei-,
JUm----
--
-w
reumet (ITMI
FUillrr ( I d .
NORTH CLOISTERS
WXmSITY m a 3
WUER STREET
f
Sn 81 allrep
EUROPE 1700; A COMCERT OF MUSIC,SONGS INP DANCES
FRoM THE LATE 17TH AND EARLY 18TH CENTURTES:.
(Thursday, May 16 a t 6.30 tn the North Cl~iatdrs,UCL)
Two
aOW8t
If music be the food of love
J1 Tartaro a m Aateria
Poro daneea from
uAbdelazar, or the Moor's Revengew (1695)
choreography' by M. Lnglehearn (1 984)
'
Suits for hqpalchord, in D minor
Afmand Corant Hornpipe
-
'hK)
-
dances:
Sarabande,
from "Le Bourgeois Gentilhomen (1670
ohwleography by Feuillet, notated by
Feuillet (1 700)
Bourse kt Menuet dtAchille,
from wAchille e t Polixenen (1687)
choreography by ~eeoub, notated by
Feuillet ( 1700)
Suite for flute and continuo
Allemande
- Rondeau - Sarabande - Gigue
Two songs:
Aria from a solo cantata
Passacaglia "Piango, gemm
Three dancea and a song
from "LqEurope Galante" 1697 )
choreography by Pecour, notated by
Feuillet (1'104)
The Chamber Musia Club has recently decided t o establish a f w d for the
purchase of a harpaicho~d, and t h i s concert ier intended t o inaugurate 6ur
cwaign. Any donations would be gratefully received. ff you w i s h t o palt
ua a contribution, tear off t h i s a l i p and forward t o :
Tha Treasurer, UC&H Chamber Music Club,
C/o Ann MaoLsrnon, .
D ~ p tof Anthropology,
University College London
Qoww Street, tondon WC1E 6m.
Plr&so muupt iay d~ttlitionof
.....,......
I
P
.... - ............
tor
ms flo~paiuhordfind.
PROGRAMME NOTES
Music and Dance in the Baroque Age
From the middle of the sevenL
teenth century until well into
the eighteenth, the. two principal
components of secular music were
the song and the dance,
.
,
.
I
The present concert has been
assembled w i t h the intention of
providing some indication of the
contrast between .these two aapecta,
particularly of French music, .
in the period around 1700.
The song, from Purcell through t o
Handel and vivaldi; f s a familiar
element from the music of this period:
The Items we have chosen a l l come from
operas or theatre works. The dance, on the other hand, is nowadays seldom
to be seen in performances of music from t h e baroque period; and t h i s
applies not only to conaerts, but also, sadly, to the operas themselves.
Yet, 88 James'Anthony, i n his b m k gpenoh Baroque Muaic~ points out,
through the 17th and !8th centuries, French muaic was increaqingly
dominated by the dance, It spread fiom court ballet and opera atage t o the
lute and. harpsichord, and even the organ. The rhythm of the minuet, _the
sarabande, the bburee or passepied invaded chamber and ohape1 alike."
;
*
B a l l e t was a very important ingredient of French theatre during the latter
half o f the seventeenth century. A t first it was the courtiers who danced
m a t , o f the roles, but gradually they were superceded by professionals. In
1700, Feuillet published a notational system for recording dance, and thus
much of the original choreography of this period has swvived. F e u i l l e t w a s
translated into English by John Weaver in 1706: An example of this .qotation
is shown in the figwe; a t the top of t h i s
I ~ o a t - . b the
f
dances 'are for
either a solo performer or a couple; as in this example. Another valuable
source is 'Le Maltre a' Danserf by Pierre Rameau (a rohttemporary of %he
composer & a n - ~ h i l l i p iRameau) This was published in 1725 and gives very
detaf led. descriptions of the performance of the steps. in these +dames,
including the arm movements, It was translated into E'nglish by John'Essex
...
in 1728.
. ..
,+
:
..
In England, around the same time, Purcell w a s producing a bonsiderable
amount of *music for the theatre; *ere it often serv@.das an accompaniment
for dance. The English daking master Joaiaa Priest choreographed the
dances for many of Purcel19a dperaa; including Dido and Aeneas, The Faerie
Ween, and King ~rthuriAbaelezar would also have been presented wf th
danoed interludes, but unfortunately none of the original choreography
survives. The two. dances from Abdelezar presented here have been
reconstructed from contemporary dance sequencear
Lully was, of course, the great French master of dance music. He wa? a l s o
an accomplished dancer. 'Le Bourgeois Gentilhoanme*, with words by Mollere
and music by ~ u l l ,
y I s described as a comedy with ballet f nterludesi In the
original performance; ~olibreplayed the principal role, and Lully himself
danced the part of a Turkish mufti, The Sarabande presented here appears In
a collection by Feuillet. The music for the opera 'Achille et ~ o l l x a n eis
~
also by Lully, and the danoe (Bouree e t Minuet) appears in the Feuillet
collection of 1700; a8 a ballroom dance; it is possible that many such
choreographies were rearrangements of the original opera dances ; modified
for the ballroom,
- .
a
~ n d r dCampra composed the music for a great many operas; in 'the period
following Lully. Hla first work, fLiEuropeGalantet, with words by La
Motte,.was so popular it w a s revived 6 times, the last being in 1774. This
topera-ballet* breaks from the tully tradition of grand melodrama and
presents a spectacle of short *entrees, all w i t h diverse costumes and
decor corresponding t o the Imagined oharacterfstica of 4 different European
nations (Francs, Italy, Spain and ~ u r k e y ) : In the excerpt presented here,
from the *Spdnlahr entrh, *the Spanish contingent are shorn as faithful and
rather sentimental romantics, in.contrast to the fickle French, or cunning
and jealous ftalians.
The+- instrumental
music of the period followed the same formalities as the
opera
i t often consisted of a suite of dances, each in a oharacteristic
s t y l e , perhaps preceded by a free flowing prelude. The examples from
Purcell and Be l a Barre presented here are typical or thia genre. L i k e the
ballroom versions of the opera ballets, th9y may be thought of aa
instrumental miniatures of the opera music.
--
+
The Instments:
.Harpsichord: This is in_the 17th oentury Italian s t y l e , reconstructed and
prepared by Hark Ransom,
Flute: Copy by Friedrich von Hewe of a f l u t e by Chevalier (around 1680);
The original is in the Boston ~ u s e u m ~
Vf o l a da Gamba: Copy by Jane Julier of a French instrument by Bertrand (1704).
The dance costume is modelled from one worn by Camrgo, one of the first
great female dancers of this period; It is represented in a painting by
Lancret, at present in the Wallace collection.
f
*Cont.retempst is a group of musicians specfaliaing i n t;he music of
period around 1700: Host have a close aasocf ation with UCL, either as
or present members of the college: By attempting t o present the music
the style of t h i s period, and particularly by including dance and the
theatrical elements so Important t o its original context, i t is hoped
encourage a fuller.apprecfation of thia art.
Barbara Segal
Liz Wells
baroque dance
countertenor
viola da gamba
Chris Dance
Bill Tuck
harpsichord
baroque f l u t e
Gilles
~rBn6e
the
past
in
other
to
Fif'bem Three-Part Inventions
pima
Pmtaay Places,
3ip
J a m e ~ t-hthirn
W.73.
11
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-
~ ~ w ~ A wlbh
D R
m f t Aud~yck
'F
hMMW.ly W F ~ a l t t x x vtZ8 June l, k h ~ wi
e
pe a -
UNEVERPITY COLLEGE LONDON
ASBE MBLY O F FACULTIES
THE U C AND UCH CHAMBER
MUSIC C L U B
CONCERT
in the
HALDANE R O O M
University of London
IPfSTITUTl3 QF CLASSICAL STUDIES
WE^ C O L W E LONDON, BEPAROF GREEK
UNIVERSITY C O m E & HOSPITAL CHAMIER MUSIC CLUB
G.F.HAMlBL: SIX m A T E DA CAMERA
No. 1 h A maim:
&dant:e
- Albgro - Adagio - Megro
No. 3 in F d e r :
Ad@-Mw-W-~
&v -bars,
~~
John XJndon, Piano