1:00 PM13:00

Song Recital

Harriet Mountford  soprano
Ben Horden  piano


Benjamin Britten  Early Morning Bathe from Holiday Diary, op. 5  piano

Roger Quilter  Spring is at the door

Robert Schumann  Jemand

Marie-Joseph Canteloube  Chut, chut

Joseph Marx  Und gestern hat er mir Rosen gebracht

Maurice Ravel  Chanson de la mariée 

Joseph Marx  Selige nacht

Robert Schumann  Süsser Freund, du blickest

Johannes Brahms  Am Sonntag Morgen

Franz Schubert   Du liebst mich nicht

traditional  I will walk with my love

Roger Quilter  How should I your true love know?

Madeline Dring  It was a lover and his lass

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7:30 PM19:30

Sweeter than Roses: Early English Song

Henry Purcell If music be the food of love 

John Dowland  Flow my tears

John Blow  Oh! That mine eyes would melt into a flood

John Dowland  Weepe you no more, sad fountaines             

Henry Purcell  I attempt from love’s sickness   

Henry Purcell  If love’s a sweet passion from The Fairy Queen   

Henry Purcell  An Evening hymn                                                      


John Morley  It was a lover and his lass                                      

John Dowland  Come again: Sweet love doth now invite                         

John Dowland  Can she excuse my wrongs                                                          

John Dowland  If my complaints could passions move                   

Henry Purcell  There’s not a swain on the plain                                       

John Blow  O turn not those fine eyes away           

John Morley  O mistress mine                                                 

Henry Purcell  Come away, fellow sailors from Dido and Aeneas                                              

Henry Purcell  The Plaint from The Fairy Queen                                        

Henry Purcell  Sweeter than roses

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5:30 PM17:30

Organ Recital

Johann Sebastian Bach  Prelude and Fugue in G major BWV 541                                             

Johann Sebastian Bach trans. Sigfrid Karg-Elert  Air from Orchestral Suite in D major BWV 1068                            

Franz Liszt  Fantasia and Fugue on BACH                                                

Following a lapse in contributions to the organ repertory during the latter part of the eighteenth century, the complexion of the nineteenth century looked altogether different and played host to a revival of interest in the instrument. Often referred to as the ‘Bach revival’, the movement also saw a fresh enthusiasm for Bach’s work by musicians and composers. This programme presents works by some key players in the development of the organ and its music in Germany, not least, of course, Bach himself. 

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7:30 PM19:30

Organ Recital

  • Sir Jack Lyons Concert Hall, University of York (map)
  • Google Calendar ICS

Max Reger  Introduction and Passacaglia                    

Johannes Brahms  Chorale Prelude and Fugue “O Traurigkeit, o Herzeleid!”

Felix Mendelssohn Bartholdy  Prelude and Fugue No.1 in C minor

Johann Sebastian Bach  Chorale Partita “Sei gegrüsset, Jesu gütig”  BWV 768

Franz Liszt  Fantasia and Fugue on the name BACH   

Of the many organ genres of the 18th century, the Chorale Partita is perhaps the least familiar; this concert gives an opportunity to hear one of Bach’s finest offerings and to spot his influence on later composers. The concert hall’s neo-classical organ built by Grant, Degens and Bradbeer would have been recognized by Bach and also by Mendelssohn, Liszt, Brahms and even Reger. 

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5:45 PM17:45

'Resurrexi!': Organ music for the Risen Christ

Olivier Messiaen  Joie et Clarté des Corps Glorieux

Jeanne Demessieux  Douze Choral Préludes sur des thèmes grégoriens
6. Hosana Filio David                                      
5. Vexilla Regis                                    
7. O Filii et Filiae

Alan Ridout  Three Resurrection Dances

A former Director of Music, Ben returns to St Matthew's Church, Northampton to give the Easter Day organ recital. Twentieth-century composers from both sides of the channel offer musical responses to the resurrection narrative. The recital precedes Choral Evensong, sung by the choir of St Matthew's Church at 6.30pm.

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1:00 PM13:00

Organ Recital

This recital is part of the London Handel Festival

Jean Baptiste Lullytrans. Ben Horden  Ouverture from Ballet Royal de la Nuit

Johann Sebastian Bach  Concerto a-Moll BWV 593
nach dem Concerto a-Moll Op.3 Nr.8 (RV 522) für zwei Violinen, Streicher und Basso continuo von Antonio Vivaldi

Henry Purcell  Voluntary in G

John Stanley  Voluntary in D minor, Op.5 No. 8

George Frederic Handel, trans. John Walsh (1738)  Organ Concerto in F major, Op.4 No.5

This programme traces Handel’s life and work across the turn of the 18th century. Although Handel only contributed a small number of works to the keyboard repertory, in this recital his journey is represented by music from his contemporaries and those who influenced him and whom he influenced. 

Born in Halle, Handel’s roots lie in the North German tradition, although the early formation of his style is less native and perhaps owes more to his European contemporaries; from Lully, the master of the French Overture to Scarlatti and the other masters of the Italian style and form. Capitalising on the loss of enthusiasm for Purcell’s stage music following his death, Handel cultivated the already growing interest for the Italian style in London, particularly Italian opera. An eventual wain of interest by London’s fickle audiences provided the catalyst for Handel’s oratorios and their performances at Covent Garden. His celebrated organ concertos, around one of which this programme is centred, were written as interludes and were the first of their kind for the combination of instruments. By this point in his life Handel was fully integrated into the musical life of London and fully endorsed by his Royal patrons and adoring audiences.

Although direct contemporaries and admirers of each other’s work from afar, Handel was outside of Bach’s sphere of influence. Surprisingly, the only thing shared by these two giants of the Baroque was the fatal incompetence of their eye surgeon. Following Handel’s death in 1789, the baton was picked up by John Stanley, a faithful advocate of Handel and admired hugely by him. Stanley strived to maintain Handel’s legacy at Covent Garden, although like so many, was eclipsed by the work of the Baroque Master. 

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