2001/02 Season's Concerts
|29 September 2001||London Opera Players|
|24 November 2001||Alexandra Wood (violin)|
|19 January 2002||The Gonzaga Band|
|2 March 2002||Philip Moore and Simon Crawford-Phillips|
Jamie Savan (Director) - Cornett, Alto Cornett, Natural Trumpet, Recorder, Bagpipes
Fiona Russell - Cornett, Recorder
Laura Sherlock - Tenor & Bass Sackbuts, Slide Trumpet
Matthew Wadsworth - Lute, Theorbo, Percussion
Steven Devine - Harpsichord, Chamber Organ
Faye Newton - Soprano
Mark Horton - Tenor Sackbut
Abigail Newman - Sackbut
Kate Rocket - Sackbut
Emily White - Sackbut
Adam Woolf - Sackbut
Savan cornett, mute cornett, bagpipes
Fiona Russell cornett
Adam Woolf alto and tenor sackbut
Laura Sherlock tenor and bass sackbut
Matthew Wadsworth lute
The Gonzaga Band is a cornett and sackbut ensemble, supported by lute or theorbo and chamber organ. Members of the ensemble also play natural trumpets, recorders, bagpipes and percussion, and the group may be augmented to embrace an extended family of period instruments including shawms, dulcian, and strings. The Gonzaga Band was formed in 1997 to explore the rich variety of instrumental music of the 16th and early-17th centuries; the group aims to make this music accessible to all through imaginative programming while maintaining the highest artistic standards.
The ensemble takes its name from the Dukes Gonzaga of Mantua who were important and influential patrons of the arts during this period. They employed Monteverdi as Maestro di Cappella, and one time possessed a wind ensemble that was the envy of the world. Naturally The Gonzaga Band has a strong interest in Italian music, but also maintains an extensive repertoire of music from other European countries.
Since its formation The Gonzaga Band has given concerts and recitals, and has collaborated with choirs and choral societies throughout the country on projects including such works as Monteverdi's Vespers (1610), the instrumental and choral music of Giovanni Gabrieli, and Schόtz's Christmas Story. Particularly notable were two well-received recitals at Dartington International Summer School and Music Festival in 1998 and 1999.
The Gonzaga Band is currently participating in the Live Music Now! scheme which was founded by the late Yehudi Menuhin in 1977 to enable people without access to live music, particularly those with special needs, to experience and participate in high quality performances and workshops by young professional musicians. The ensemble has also been selected to join recital scheme of the Countess of Munster Musical Trust.
Individually, members of The Gonzaga Band have performed and recorded with some of Europe's finest period instrument ensembles, including the Gabrieli Consort and Players, the King's Consort, His Majesty's Sagbutts and Cornetts, La Fenice, the Orchestra of the Renaissance, and at Shakespeare's Globe Theatre, London.
de la Rue
Da Pacem Domine (cornetts and sackbuts)
Tandernaken (cornett and sackbuts)
Claude de Sermisy Tant que Vivray (lute)
Ave Regina Caelorum (cornetts and sackbuts)
Passamezzo Der Gassenhauer (lute)
Ah, Robin (mute cornett and sackbuts)
Bergamasca & Galliard (lute)
Suite of Dances (English smallpipes)
Tandernaken (cornett and sackbuts)
Madame dAmours (cornetts and sackbuts)
Pastime with Good Company
En Vray Amour
Fabordones del Octavo Tono (cornetts and sackbuts)
Fantasia No. 8 (lute)
Rejoice in the Lord (cornetts and sackbuts)
Flow, my Tears (mute cornett and lute)
In Nomine (cornetts and sackbuts)
Fantasia (cornetts and sackbuts)
OF THE TUDOR COURTS
Phillip the Fair (the Hapsburg King-Archduke) and his ravishing musical entourage undertook a journey to Spain early in the 16th century. But fortune was not looking kindly upon them: the subsequent wreck of their flotilla on the South coast of England creates a stage for our Tudor programme.
These people and events mean that in 1506 Henry VII of England was playing host to the survivors of the disaster. Survivors including the musicians of the Burgundian Chapel under the direction of Pierre de la Rue. This ensemble was one of the most important musical institutions of the time, performing music composed by their director and Josquin amongst other Franco-Flemish gems.
What a serendipitous opportunity for Henry's younger son to bask in musical delights! A son who had had a broad education in the delectable arts fitting to a Renaissance Prince, especially music, and who, no doubt, had relished for a short while the fact that he was not due to take the onerous position of King. A twist of fate in 1502, the death of his elder brother, and this second son had his future redrawn - he was to become Henry VIII King of England.
Phillip's Court had fine wind players in employ, including the renowned cornettist Augustein Schubinger, so is it a surprise to find that in the 1530s Henry VIII exhausted one eighth of his Court music expenditure on the wages of sackbutters? In fact it is likely that Henry VIII expanded The King's Musick in deliberate emulation of the Burgundian model. So, Philip's taste in wind music was to play an important part in the development of music at the Tudor Court.
Our programme opens with a selection of Continental music that might well have been heard in England in 1506. Pierre de la Rue is well represented: a particular highlight will be the rendition of pieces by him and Josquin des Pres contained in a presentation manuscript to mark the wedding celebrations of Henry VIII to Catherine of Aragon.
Thus launched into the Court of Henry VIII a variety of music will ensue; including works by Cornysh (the pre-eminent composer at Henry's Court), Henry VIII himself, and a selection of pieces with anonymous origin including Madame d'amours.
The second half of the programme takes us into the next Tudor generation. Antonio de Cabezon's Fabordones del octavo tono marks the marriage of Mary Tudor to Philip of Spain in 1544. Cabezon came to England with Philip's musical retinue for that occasion and left a lasting impression on a generation of English composers.
Then to the Court of Elizabeth I - a Queen who inherited her father's passion and extravagance for music - featuring music by John Dowland, Robert White, and William Byrd. Not forgetting the influence the continent had on Elizabeth's musical life, we make a foray into the intriguing relationship between Elizabeth and the Italian composer Alfonso Ferrabosco I, and the subsequent education at her Court of his illegitimate son Alsonso Ferrabosco II.
The programme is auditory evidence of the rich flowering of English music in Tudor times. There is a tangible development in sound and a heady mix of influences - the single word 'Tudor' seems inadequate for the variety displayed here.Requirements: