![\"Music](\"https:\/\/www.berkeleyensemble.co.uk\/wp-content\/uploads\/2011\/03\/music-stands.jpg\" "\\"music-stands\\"")
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Our repertoire ranges from duos to work for sinfonietta-sized ensembles, and we regularly work with guest artists to expand our programming possibilities.<\/p>\n
1-hour concert | Fugues and canons, old and new<\/strong><\/p>\n Although synonymous with the baroque, the contrapuntal forms of fugue and canon have enjoyed several periods of renewed interest. Mozart\u2019s language was immeasurably deepened on his introduction to the music of Handel and Bach at the house of his friend Gottfried van Swieten, and Haydn\u2019s quartet borrows a fugal theme from Handel\u2019s Messiah<\/em>. Stravinsky\u2019s Double Canon recalls Webern in its icy beauty, whist the Austrian composer\u2019s own quartet is structured around a motto spelling out the name of a hero, B-A-C-H.<\/p>\n Mozart<\/strong>: Adagio and Fugue K. 546 Full-length concert | Voices: Elsewhere and elsewhen<\/strong><\/p>\n Debussy and Ravel were both commissioned by rival harp manufacturers to write pieces demonstrating their competing designs. The resulting works outlived the short commercial spat, enriching the harp\u2019s repertoire and accepted voice along the way. Berio\u2019s Sequenza<\/em>\u00a0IXa<\/em> for clarinet looks back on its own instrument\u2019s wide-ranging voice as conceived by artists from Mozart to Benny Goodman.\u00a0Folk songs real, fake and inaccurately transcribed jostle in Berio\u2019s Folksongs<\/em>, written for his then wife Cathy Berberian, whilst Stravinsky\u2019s late settings of Shakespeare make something rich and strange of familiar texts.<\/p>\n Ravel<\/strong>: Introduction and Allegro<\/em> Interval<\/p>\n Debussy<\/strong>: Danses sacr\u00e9e et profane<\/em> 1-hour or full-length concert | Merrie England<\/strong><\/p>\n For many, the way forward in twentieth-century British music would lie via the distant past of Purcell and the great Tudor composers. A Purcell Garland reimagines Purcell\u2019s viol fantasias for a modern ensemble, whilst Britten and Ad\u00e8s both find inspiration in the lute songs of Dowland.<\/p>\n 1-hour programme<\/strong><\/p>\n Knussen<\/strong>: Upon one note<\/em> from A Purcell Garland<\/em> Evening Programme<\/strong><\/p>\n Knussen\/Benjamin\/Matthews<\/strong>: A Purcell Garland<\/em> Interval<\/p>\n Britten<\/strong>: String Quartet no. 2<\/p>\n","protected":false},"excerpt":{"rendered":" Our repertoire ranges from duos to work for sinfonietta-sized ensembles, and we regularly work with guest artists to expand our programming possibilities. Sample programmes 2016-17 season 1-hour concert | Fugues and canons, old and new Although synonymous with the baroque, the contrapuntal forms of fugue and canon have enjoyed several periods of renewed interest. Mozart\u2019s […]<\/p>\n","protected":false},"author":8,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"pmpro_default_level":"","footnotes":""},"yoast_head":"\n
\nStravinsky<\/strong>: Double Canon
\nL. Berkeley<\/strong>: Canon in Memoriam I.S.
\nWebern<\/strong>: Quartet op. 28
\nHaydn<\/strong>: Quartet op. 20 no. 5<\/p>\n
\nBerio<\/strong>: Sequenza IXa<\/em> for clarinet
\nBartok<\/strong>: violin duos (selection)
\nStravinsky<\/strong>: 3 Shakespeare Songs<\/em><\/p>\n
\nBerio<\/strong>: violin duos (selection)
\nBerio<\/strong>: Folksongs<\/em><\/p>\n
\nAd\u00e8s<\/strong>: Court Studies<\/em> from The Tempest<\/em>
\nAd\u00e8s<\/strong>: Darkness Visible<\/em>
\nRebecca Clarke<\/strong>: Passacaglia on an old English Tune<\/em>
\nBritten<\/strong>: String Quartet no. 2<\/p>\n
\nAd\u00e8s<\/strong>: Court Studies<\/em> from The Tempest<\/em>
\nAd\u00e8s<\/strong>: Darkness Visible<\/em>
\nBritten<\/strong>: Lachrymae<\/em> or Simple Symphony<\/em>
\nRebecca Clarke<\/strong>: Passacaglia on an old English Tune<\/em><\/p>\n