Categories
Concerts

Viola da gamba Concert: Fire in the Belly

*POSTPONED* UNTIL FURTHER NOTICE

People’s Museum of Limerick

Sarah Groser, viola da gamba

Yonit Kosovske, harpsichord

Vlad Smishkewych, narrator

(40 mins, followed by Q&A)

French Baroque viol players and composers Marin Marais and Antoine Forqueray have been described as “the angel and the devil”—the former known for his sweet and gentle style, the latter for his earthy and gutsy style. Regardless of their differences, both were known to have been recognised virtuosos on the viola da gamba and established chamber musicians in the court of Louis XIV. Antoine’s son Jean-Baptiste Forqueray was also a viol player and composer, perhaps even more advanced in skill than his talented father. Jean-Baptiste was merely 5 years old when he performed before the King, who was immediately impressed. While the father and son had their own share of intense family drama full of jealousies and dysfunction (worthy of a reality TV show if they were around today), nonetheless in 1747 the younger Forqueray published 32 of his father’s works (alongside some of his own compositions) as pieces for viol with continuo, and again in 1749 for solo harpsichord, which was not entirely surprising, given that both his mother Henriette-Angélique Houssou and wife Marie-Rose Dubois were harpsichordists. These different versions—for viola da gamba and harpsichord—will be interwoven into this “Fire in the Belly” performance, featuring Forqueray’s Suite no 1 in D minor and Marais’ Suite no.2 in D major Book 4. This afternoon concert will conclude with a dramatized version of Marais’ Tableau de l’Opération de la Taille, a narrated depiction of a 17th-century urinary stone operation!

Buy tickets

Categories
Concerts

Recorder Concert: Chrome Attic

*POSTPONED* UNTIL FURTHER NOTICE

People’s Museum of Limerick

Theresa Burton, recorder

Vlad Smishkewych, voice

Yonit Kosovske, harpsichord

Sarah Groser, viola da gamba

(40 mins, followed by Q&A)

Music in early 17th-century Italy was considered the avant-garde of its time, revolutionary and experimental. Composer Giulio Caccini even named his collection of solo songs Le nuove musiche (The New Music).  Ground-breaking compositional trends were part of a seconda prattica (second practice), also called the stile moderno (modern style). Both vocal and instrumental music aimed to dramatize the emotional power of poetry and move the listener by way of bold musical contrasts, symbolic rhetorical gestures, juicy dissonances, wild chromaticism, and flashy virtuosity, also called stylus fantasticus (fantasy or free style).

This programme features the Baroque recorder on a journey through virtuosic sonatas, variations, and a ciaccona. You will hear works by Antonio Bertali, Dario Castello, Giovanni Paolo Cima, Giovanni Battista Fontana, and Tarquino Merula, as well as Barbara Strozzi’s Lagrime mie (Tears of Mine)—her passionate cantata for solo voice and continuo— and a solo harpsichord toccata by Girolamo Frescobaldi.

Buy tickets