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About this event

Hear It Live! is going weekly. Join us on Thursdays 3.30-4pm from 18 July.

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

 

18 July – Performance by Yeo Yat-Soon on the Guarracino virginals

‘In Search of the Palladian Style’ journeys through the times of the 16th century Italian architect Andrea Palladio, and the Palladian revival in 18th century London. Music from this period will be performed in our Music Gallery on historical instruments, including the recently restored virginals by Guarracino, featuring music by Cavazzoni, Merula and Frescobaldi.

Yeo Yat-Soon was born in London to Chinese parents. He studied Music and Historical Musicology at King’s College London, and Harpsichord and Conducting at the Guildhall School of Music. Yat-Soon holds the prestigious Raymond Russell Prize for Harpsichord and performs widely as a harpsichordist, specialising in performing in historic buildings. He currently teaches harpsichord, coaches chamber music and lectures on historical performance for the Centre for Early Music Performance and Research at the University of Birmingham.

25 July – Performance by Luke Bradley on the Beyer piano

Ever since his early teens, Luke Bradley has been fascinated with the colours and expressive possibilities that can be obtained with early keyboards. It was also opportune that his family host a large collection of early printed keyboard works and several instruments. Luke studied the piano with Assaf Bar-Lev, Jean-Marc Aymon and Elizabeth Sombart. He also studied Fortepiano & Clavichord with Pierre Goy, Christine Schornsheim and Paul Badura-Skoda. Luke has performed at Finchcocks, Wexford Opera Fringe Festival, as well as in Germany, Switzerland, France and Italy.
For this recital, Luke will perform pieces from the Bradley Collection

1 August - Performance by Ibrahim Aziz, viola da gamba, and Masumi Yamamoto, Kirckman harpsichord

Georg Frideric Handel (1685-1759) used the viola da gamba to great effect in a number of his vocal works with orchestral accompaniment, notably in the cantata Tra Le Fiamme, the oratorio La Resurrezione and the opera Giulio Cesare, but it is less obvious how much he used it elsewhere. Apart from one original sonata which Handel himself had transcribed from a work for violin and continuo, there are very few surviving pieces for the viola da gamba that can be firmly attributed to the composer despite the popularity of the instrument in the 18th century. It is likely that the viola da gamba played solo works for other instruments and much of it not written down. This concert explores the chamber works by Handel that feature the viola da gamba and harpsichord, including a sonata with obbligato harpsichord and a transcription of one of his harpsichord suites. Ibrahim Aziz is one of the leading performers of the instrument, and his solo CD, Risonanze, was recently on the FHR record label. Masumi Yamamoto is in great demand as a solo recitalist and continuo player and recently gave recitals in the London Handel Festival and Edinburgh Fringe Festival.

8 August - Performance by August Guan on the chamber organ

August Guan studied conducting at the Central Conservatoire in Beijing, China where he graduated with a distinction and co-established the conservatoire's early music centre. After studying historical theories with Peter Allsop he went to Wales to study early keyboard instruments with David Ponsford, Andrew Wilson-Dickson, and Gary Cooper. He gained his MMus at Royal Welsh College of Music and Drama, co-founded the Tomkins Consort, and is now completing his PhD on eighteenth-century English keyboard transcriptions at Cardiff University.
August has given many recitals on the harpsichord, virginals, clavichord, and on historic organs, across the Eurasia – from Belfast and Brecon, to Bamberg and Beijing. With the Tomkins Concert, he gave periodical concert cycles at the Welsh National Museum, Cardiff. His performance has received praises not only from the audience, but also from colleague musicians and musicologists, including conductor Anthony Negus, harpsichordist David Chung and musicologist Yo Tomita.

15 August - Performance by Katarzyna Covalique on the Guarracino virginals and the chamber organ

Katarzyna Kowalik presents a programme of Polish renaissance and baroque music, featuring dance movements and examples of intabulations of vocal works for the keyboard. by composers such us: Mikolaj z Krakowa, Jan Podbielski, Marcin Wartecki, Jan z Lublina.

Katarzyna is a London based harpsichordist and early keyboard specialist of Polish origins. She completed her Master Degree in Historical Performance at the Guildhall School of Music and Drama in London (MPerf 2012) with Carole Cerasi, James Johnstone and Nicholas Parle, obtaining The City of London Corporation Award (2011) and Guildhall School Trust Award (2010). She was also awarded a prestigious Guildhall Artist Fellowship in both 2012 and 2013. Katarzyna mastered her skills in the Piccola Accademia in Montisi studying with Christophe Rousset (2012) and Skip Sempé (2015 in Utrecht, 2017 in Paris) as well as with Ilton Wjuniski at the Académie Musicale de Villecroze (2011). Katarzyna is a director of the Royal Baroque ensemble, who were highly commended in the final of the York Early Music International Young Artists Competition (2015) and who perform internationally. In 2015 Katarzyna was a participant of the Handel House Talent Scheme. She also won a Basso Continuo Prize at the ‘Gianni Gambi’ Competition in Pesaro (Italy). Katarzyna’s CDs include ‘Forgotten Vienna’ with The Amadè Players (Resonus Classics 2015), Meilyr Jones’s album ‘2013’ as well as ‘French Collection’ solo harpsichord CD (2018). She has also recorded for BBC Radio 1. Katarzyna works as a harpsichord and basso continuo teacher at Morley College in London.

22 August - Performance by Katarzyna Covalique on the Kirckman harpsichord

Musikalischer Parnassus by J. K. F. Fischer (c. 1738) is set of nine dance suites for harpsichord, each named after one of the Muses. Katarzyna Kowalik presents the last of the suites - ‘Urania’, named after the Muse of Astronomy.

Katarzyna is a London based harpsichordist and early keyboard specialist of Polish origins. She completed her Master Degree in Historical Performance at the Guildhall School of Music and Drama in London (MPerf 2012) with Carole Cerasi, James Johnstone and Nicholas Parle, obtaining The City of London Corporation Award (2011) and Guildhall School Trust Award (2010). She was also awarded a prestigious Guildhall Artist Fellowship in both 2012 and 2013. Katarzyna mastered her skills in the Piccola Accademia in Montisi studying with Christophe Rousset (2012) and Skip Sempé (2015 in Utrecht, 2017 in Paris) as well as with Ilton Wjuniski at the Académie Musicale de Villecroze (2011). Katarzyna is a director of the Royal Baroque ensemble, who were highly commended in the final of the York Early Music International Young Artists Competition (2015) and who perform internationally. In 2015 Katarzyna was a participant of the Handel House Talent Scheme. She also won a Basso Continuo Prize at the ‘Gianni Gambi’ Competition in Pesaro (Italy). Katarzyna’s CDs include ‘Forgotten Vienna’ with The Amadè Players (Resonus Classics 2015), Meilyr Jones’s album ‘2013’ as well as ‘French Collection’ solo harpsichord CD (2018). She has also recorded for BBC Radio 1. Katarzyna works as a harpsichord and basso continuo teacher at Morley College in London. 

29 August - Performance by Tim Roberts on the chamber organ

Now a grandfather, Tim is once more London-based. As a chamber musician, vocal accompanist and soloist he has often focused on lesser-known repertoire, including recent recordings for Toccata Classics of organ music of 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 when he has produced many historical music editions, especially of English repertoire, for publishers including Faber Music and Oxford University Press, and in recent years he has also gained experience as a recording engineer and sound editor, composer and music-setter. He also enjoys part-time work as a dance accompanist at Bird College theatre school in South London, and is second organist at St Peter's Italian Church in Clerkenwell.