A Plaine Song - Love Songs and Musical Games in Elizabethan England
A magical programme inspired by the English song in the times of Elizabeth I, and the playful variations written around it, with or without it. Lute and Consort songs from the beginning of the 17th century are delicate miniatures, combining meaningful and ambiguous texts with rich, precise composition, so it is no surprise that many of them served as themes to instrumental pieces by diverse composers. This programme presents a handful of such songs by Dowland along with instrumental arrangements by Robinson, Valerius, Morley, Phillips and Allison. Vistuoso variation is also presented from an Italian viewpoint with Uccellini's "Bergamasca" canzon and a wide selection of period dances.
By the turn of the 16th century, the exquisite musical treasures of the royal Spanish court were already famous in Europe. Spanish charactristic dances, Peasant-like songs and virtuouso instrumental variations on particular themes inspired generations of composers far and wide. Our current programme aims to explore some of the tunes that enchanted the continent: the Follias, Canarios and Spanish pavane, the secular and reliogious “Differencias” and the wealth of love songs, with works by Vasquez, Cabeçon, Falconiero, Corrêa de Arauxo, Praetorius, Ortiz and more. With special guests Carmit Natan – soprano and Eliav Lavi – Lute and Theorbo.
This programme followes the first days of Opera in Italy, highlighting some very special vocal genres that led to its rise. Starting with monody and the new art of song as defined by Caccini, we will explore the concert-madrigal – a solo form verging on secular cantata – then, the early intermedio and finally the virtuoso coloratura arias of the late baroque. Instrumental music will include the art of diminutions and the “modern style” sonata – with works by Castello and Bassano, as well as Gussago, Cesti, Monteverdi, Cavalieri and Handel. And don’t mention Orfeo…
Named after a song by Seal (!), this programme celebrates the (unrequited) love theme in vocal music of 17th century England and Italy. It also features instrumental examples of that period’s stylistic wealth from both sides of the canal. It will present dance music along with dance-inspired forms in the works of Giovanni Rovetta, Matthew Locke and Henry Purcell, and also popular songs along with song-inspired forms, with music by Dowland and Morley. Also, perhaps for the first time, we will encounter instrumental music that’s not based neither on dance nor song but on wholly instrumental ideas: Carlo Farina’s famous quarttet, where string instruments imitate the sounds of other instruments, as well as animal calls and various other noises.
Northern Exposure - A Journey to the End of Europe
This programme, arguably our most daring so far, follows the aurora borealis to the end of the continent where some of the most fascinating composers created their haunting masterpieces in dark, brooding hues. With the more southern realms of Austria and Bohemia as our starting point – with some remarkable music from Schmelzer and Biber – we will proceed more and more northwards to Hamburg, where Telemann wrote some of his most lovely pieces; then to Lübeck, where Franz Tunder lived and worked and to where the yound J.S. Bach was drawn to witness the prodigous playing of Buxtehude, Tunder’s son-in-law. Then even farther, to Denmark, in whose King Christian V’s halls the music of Hamburg-born Schop and Netherland-educated Scheidt was in all probability heard; arriving finally at Sweden, where such contemporary composers as Roger Tallroth and Olov Johansson create, to this very day, dance tunes in the traditional style.
The Prince-oriented title refers not to his 1985 masterpiece but rather to some other gems that in our opinion have the same travelling spirit. John Christopher Pepusch, George Frederic Handel and John Christian Bach where three influential figures who exported the fashionable Italian style from Germany to England, thus helping to create the new “cosmopolitical”, unified, homogenic-sounding style of the late Baroque era. This new colourful programme displays their works alongside those by Purcell and Graun.
A programme dedicated to 18th century music between varying tides of Late Baroque and Early Rococo; works by Wilhelm Friedemann, Johann Christian and Carl Philipp Emanuel Bach mark the emerging fashions of the brave new century in relation to their two ancestors, Johann Sebastian Bach and Georg Philip Telemann, both of whom represent at the same time the archaic and the new in Late Baroque.
Il Primo Giorno del Seicento -The first day of 1600
What did the musical world look like in the turn of the century – and more importantly, what did it sound like? In Italy at least, The 17th century was a time of unusual progress and development, and saw the coming into being of many new musical forms. In this programme the Camera will present some of these dramatic innovations in both vocal and instrumental music, through various fascinating lesser known pieces – originating from as early as 1504 to 1637. We’ll explore works by Gabrieli, Lappi, Rognoni, Mainerio, Tromboncino, Marini, Merula and more, in an attempt to experience the richness of musical life in the Seicento: both its delicate and intimate style of chamber composition and the grandeur of its glorious, festive, multi-voiced large scale creations.
Frühstück mit der Familie Bach - Breakfast with the Bach family
The amazing thing about the Bach family, aside from the beautiful and monumental music that this family of composers has contributed to the world, is the way in which the sons of this huge composer has created their own unique say in music, in accordance to the period in which they were active. That is the reason why their influence on composers in the classical period is so magnificent. This program consists of vocal as well as instrumental pieces. It focuses on J. S. Bach and two of his sons, Carl Philipp Emanuel Bach, one of the founders of the sensitive style in music, and the “London Bach”- Johann Christian.
God Save the Queen: Music in Tudor & Stuart England
A programme dedicated to English music from the 16th to the 18th century, aiming to present each of unique genres of composition in Tudor and Stuart England: vocal and instrumental music for both mixed and whole consort, incidental music and oratorio, with music by Holborne, Morley, Allison, Dowland and Purcell, as well as Recitative, Aria and Choruses from Handel’s Judas Maccabaeus featuring guest soloists and choristers from the Buchmann-Mehta School of Music vocal performance department and the Shahar Choir.