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About this event

Join us every Thursday, 3.30-4pm.

Join us in the Music Gallery to hear performances and talks based on our musical instrument collection, including our 1772 Kirckman harpsichord. 

Thursday 12 December – Performance by Tim Roberts on the square piano

Tim Roberts is a London-based chamber musician, vocal accompanist and soloist who has often focused on lesser-known repertoire, including recent recordings for Toccata Classics of organ music, John Worgan (1724–1790) and Joan Cabanilles (1644–1712).

His first job was as an editorial assistant on the 1980 edition of The New Grove Dictionary, since then he has produced many historical music editions, especially of English repertoire, for publishers including Faber Music and Oxford University Press. In recent years he has gained experience as a recording engineer and sound editor, composer and music-setter. He also enjoys part-time work as a dance accompanist at the Bird College Conservatoire for dance and musical theatre in south London, and is second organist at St Peter's Italian Church in Clerkenwell.

For this recital, Tim will perform music for the square piano by Stephen Storce, C. P. E. Bach, Samuel Arnold, Mozart ans Samuel Wesley.

Thursday 19 December – Performance by David Davies on the organ

Hear Christmas music from the 17th to the 21st century on the chamber organ. The programme will include chorale preludes by Pachelbel and Bach, a Noel and variations by Daquin and a contemporary piece on 'Unto us is born a son" by Barry Ferguson.

David Davies holds a PhD in marine geophysics from Cambridge University; he taught and researched at Cambridge and at the Massachusetts Institute of Technology and returned to London as Editor of Nature, the science journal. His final job was as Director of the Open College of the Arts. He studied organ with Gerald Hendrie and Simon Preston and conducting with Bryan Fairfax. He produced operas in Massachusetts and London (Blackheath Opera Workshop) and since retirement has been a village organist, founded and conducts Opera at Chilmark, and plays harpsichord continuo with Salisbury Baroque.

Thursday 9 January – Performance by Callum Anderson on the organ

Callum Anderson is in his final year at the Royal Academy of Music, where he is currently studying the harpsichord as part of a Masters Degree in Historical Performance. He studies the harpsichord with Carole Cerasi and organ with Daniel Moult. He received his BA in Music from University of Bristol, where he began playing the harpsichord and co-directed the Bristol University Baroque Ensemble in his final year. He has worked with many renown historical performance specialists, such as Laurence Cummings, Rachel Podger, John Butt and Ian Ledingham. Recent performances include the Royal Academy's production of Handel's 'Semele', and the 'Bach the European' concert series at the Royal Academy of Music. Callum is also currently the Organ Scholar at St. Marylebone Parish Church.

Thursday 16 January – Performance by Adriána Kalafszky (soprano) and Motoko Fukuda (virginals, harpsichord)

Motoko Fukuda was born in Morioka, Japan. Since her childhood, she has been interested in traditional arts - both eastern and western, playing music and painting. She felt in love with the sound of an harpsichord when hearing it for the first time in Belgium. She studied at the Royal Conservatory of Brussels and Hochschule für Musik and Theater in Leipzig, obtaining a Master diploma there. She studied with Herman stinders, Nicholas Parle, Barthord Kuijken, Mechtild Karkow. In 2018, she worked as an accompanist at Vicenza conservatory. Her main research areas are historical instruments and English virginals music. She is currently preparing to start a PhD in the UK.

Hungarian soprano Adriána Kalafszky studied classical singing at the Liszt Academy in Budapest and historical singing at the early music department of the Hochschule für Musik und Theater Felix Mendelssohn Bartholdy, Leipzig, Germany.
In 2018 she spent one term in Canada, British Columbia studying with the world- famous singer, Nancy Argenta.
In Leipzig she appeared on the most important early music festivals of the city including the events of the Bachfest, the Bach Museum and the Thomas Church. In Canada she was the soloist of the Pacific Baroque Festival and the Victoria Baroque Players. Recently she has sung the roles of Venus in John Blow's Venus and Adonis at the Alte Musik Fest Leipzig, the title role in Purcell’s Fairy Queen, Despina in Mozart’s Così fan tutte (Victoria BC, Canada) and Zéphire in Boismortier's Les Voyages d'Amour in Herne Early Music Days (Germany). Adriána works permanently with conductor György Vashegyi in Budapest. She sung many Hungarian premieres and is the soloist of the ensemble’s new, award- winning CD recording from the works of the composer Francesco Bartolomeo Conti.
Singer of the Ariadné Consort and Budapest Bach Consort. In 2017 she won the 3rd prize with her ensemble in the early music competition “La Stravaganza” in Romania.
She has attended masterclasses by Michael Chance, Kati Debretzeni, Miriam Feuersinger, Roberta Invernizzi, Maria Jonas and Jordi Savall. To support her work, Adriána won the scholarship of the National Cultural Fund of Hungary and the Fischer Annie Scholarship awarded to young talented artists.

Thursday 30 January – Performance by Penelope Cave on the virginals

Penelope Cave is an international, prize-winning harpsichordist with much experience in giving recitals on historic instruments. Her CD, 'From Lisbon to Madrid’ was awarded five stars from BBC Music Magazine, and 'Panorama', a disc of solo keyboard music from each decade of the twentieth century, was also critically well-received. She is known for her educational work, and regularly tutors harpsichord and early piano courses in Britain and abroad.

After completing her PhD in 2014, she project-managed and performed in four short films on music at Tatton Park, and was a National Trust artist-in-residence at Dyrham Park. Dr. Cave is an Associate of the Royal Academy of Music, committee member of the British Harpsichord Society, and, presently, a Visiting Scholar at Wolfson College, Oxford. Last year she contributed to Muzio Clementi and British Musical Culture for Ashgate's Historical Keyboard Series, and has recently been invited to write a chapter for a Bucknell University Press publication, Women and Music in Georgian Britain. She gives illustrated papers for academic conferences throughout Europe with particular reference to early-piano repertoire and pedagogy, domestic music-making, and musical correspondence in Regency England.

Penelope Cave’s recital, entitled  Pasquini—Picchi—Pasquini , will consist of short pieces by three Italian composers, whom she will introduce to compliment the 1668 Guarracino virginals.