Preludes & Vollenteries, an overview

Posted on June 9th, 2019 by

Next Concert: Thursday 19th September The Chapel, Charterhouse, 14 Charterhouse Square, Barbican, London EC1M 6AX

Part of the Tomb of Thomas Sutton (1532–1611) in the Chapel

Over the past 18 months, this wandering thread of salon concerts has found its way to a score of the miraculous churches of the Square Mile, to All Hallows by the Tower, St Anne and St Agnes, St Botolph Aldgate, St Botolph Bishopsgate, St Clement Danes, St Clement Eastcheap, St James Garlickhythe, St Lawrence Jewry, St Margaret Lothbury. St Mary Abchurch, St Mary Aldermary, St Mary Woolnoth, St Mary at Hill, St Michael Cornhill, St Michael Paternoster Royal, St Stephen Walbrook, St Vedast Foster Lane.

Rehearsing Andrew Toovey ‘Lament, Strathspey, Reel’ at StJames Garlickhythe, 7 6 19

The architecture of Wren, Hooke, Hawksmoor and Hooke has been counterpointed by  contemporaneous music by Albinoni, Anonymous, Bannister, Baltzar, Barrenclow, Bassani, Bassano, Biber , Bononcini, Colombi, Corbett, Corette, Corelli, Cosimi, Dean, de Machy, Dowland, Eccles, Van Eyck, Finger, Gabrieli, Galli, Gasparini, Gijsbrechts, William Gorton, Handel, Hills, Hotteterre, Hyme, Keller, King, Klagenfurt Handskrift (Anon), Laurentini, Locatelli, Lonati, Marais, Marini, Matteis, Matteis Junr., Mell, Morley,  Ortiz, Montanari, Pepusch, Philidor, Pisendel, Playford, Purcell, Riccardo, Rost (Copyist) Saint Colombe, Schemelzer, Simons, Simpson, Smith, Tartini, Telemann, Torelli, Vilsmayr, Utrecht, Vitali, Welltern, Westhoff, Ziani.

Each concert has featured a guest from our time, pieces by some of my treasured collaborators/friends, Richard Beaudoin, Judith Bingham, Nigel Clarke, David Gorton, Hafliði Hallgrímsson, Sadie Harrison, Michael Hersch, Alistair Hinton, Nicola LeFanu, David Matthews, S?d?ka Özdil, Paul Pellay, Gregory Rose, Evis Sammoutis, Peter Sculthorpe, Peter Sheppard Skærved, Andrew Toovey, Mihailo Trandafilovski, and Dafina Zeqiri Nushi.

Instruments have been heard by Andrea, Girolamo and Niccol Amati, Antonio Stradivari, and more from Italy, but, perhaps more excitingly, by the luthiers who lived and worked within yards of this church; Barak Norman, Richard Meares, Collingwood, and there has even been the earliest dated English violin, an anonymous instrument from 1664, inlaid with the crown of Charles II.

I am honoured to work with the various communities and groups who keep these extraordinary buildings alive, and to share this intimate music in the ‘auditorys’ which sprang from the imaginations of Wren, Hooke, Hawksmoor, and Dance.