ST MICHAEL AND ALL ANGELS, WARDEN

SUNDAY, MAY 15th 2016 at 5.30pm

FATHERS AND SONS –A MUSICAL INHERITANCE

gh PROGRAMME gh

Suite in A minor from Troisième Livre de Pièces de Viole 1711

Marin Marais 1656–1728

Prelude – Gavotte la Petite – Grand Ballet

Tombeau de Mr. de Chambonnières J-H d’Anglebert 1635–1691

Suite in G major from Pièces de Violles 1685

Le Sieur de Machy fl. late 17th century

Prelude –Allemande – Courante – Sarabande - Chaconne

Troisième Suite in B minor IIième Livre 1738

Roland Marais 1685–1750

Prelude Le Logerot – Allemande La D’Haurincour – Sarabande La Verrière de C*** – Allemande La La Bergerie – Rondeau Le Mont St Remy

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Sonata in G major BWV 1027 for Viola da Gamba and Harpsichord

J S Bach 1685–1750

Adagio – Allegro ma non tanto – Andante – Allegro moderato

Adagio in D minor for Viola da Gamba Carl Friedrich Abel 1723–1787

Sonata in C major for Viola da Gamba Wq136/H558 1745

C Ph E Bach 1714–1788

Andante – Allegretto – Arioso

SAM STADLEN

Originally a Baroque cellist, Sam took up the viola da gamba under the tutelage of Susanna Pell while reading for his Master’s degree in music at the University of York. He has also benefited from master classes and tuition from players such as Ibrahim Aziz, Richard

Boothby, Christophe Coin, Alison Crum, Wieland Kuijken, Jona-than Manson, and Alison McGillivray. Sam has been a member of Fretwork since 2015 and appears regularly as a continuo player and soloist on viol and cello with a number of early music ensembles. These include viol consorts Chelys and Sestina, The London Abel Quartet, Follia, L’Academie du Roi Soleil, and viol duo Ensemble Touché with Ibi Aziz. With several of these groups, Sam performs both early repertoire and modern compositions.

In addition to his performing work, Sam is an associate lecturer at the University of York and has lectured at the Royal Academy of Music in London. He has a PhD on the influences of poetry and declamation on the composition and performance of the pièces de viole in late seventeenth and early eighteenth century France. He is currently based in London and York.

JOHN GREEN

John was an organ pupil of Conrad Eden at Durham Cathedral and read music at Notting-ham University under Ivor Keys. His interest in historical performance practice was gener-ated there and has been maintained alongside his subsequent posts as Director of Music at

Dame Allan’s School in Newcastle and Director of Music at Hexham Abbey. For many years he was associated with the Northern Sinfonia and his concert work has taken him as far afield as Boston Mass and New Zealand as well as many times to France. He now travels the world examining for the Associated Board, but maintains as much playing as possible during his periods at home.

The Bach dynasty is perhaps the most celebrated and well-known family of musicians to have emerged during and after the Baroque period. The oeuvre of Johann Sebastian Bach (1685-1750) is consider ed the height of this period’s musical achievement while that of his sons, notably Carl Philipp Emmanuel Bach (1714-1788), broke technical and stylistic boundaries, paving the way for what is now labelled the Classical style. Thus, the masterfully crafted, often severe music of the father gave way to the gallant style of the son – no less complex but with an emphasis on melody. The music for viol by these two great German composers was, however, indebted to that of an earlier father-son pair, the great French violistes Marin Marais (1656-1728) and his son, Roland (c1685-c1750). This programme compares and contrasts the music of these two great musician fami-lies and examines the musical inheritance which they passed on both to each other and, across more than three centuries, to us.

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Sam is playing a copy of a Nicolas Bertand 7-string bass viol by Jane Julier, John a copy by Dennis Woolley of a Franco-Flemish harp-sichord by Albertus Delin (Tournai 1768) the original being in the collection of the Canadian harpsichordist Kenneth Gilbert.