How many things are unlikely about a cello and accordion duo? At first sight, it seems that some musical world has been turned upside-down. You might think of an otherworldly violin sonata instrumentation with treble and bass flipped—or that the poor misfit accordion, side-lined from the classical canon, was paired with one of the orchestra’s popular crowd. But despite any superficial assumptions about this improbable pair, once you hear the combination, few things are as captivating as the sound of a cello and an accordion together. It is a shared reedy richness, mellow and smooth, enriched by the distinctive phrasings of bellow and bow-stroke. These are highly complementary instruments which produce an ever-varying tapestry of sound. Both La Marca and Brut share a love of innovative programming, a curiosity for a wide range of repertoires and styles, and a support of new works for their respective instruments. In the case of Félicien Brut, this new-music quest truly expands the canon and enriches the number of modern classical works for the accordion. This stunning classical duo of new generation French virtuosos brings Music Network’s Autumn 2022 Season to a fantastic finish with a genre-busting programme World Songs spanning the Baroque to the modern day, including a not-to-be-missed premiere of a new Music Network commission by Irish composer Judith Ring.
World Songs – including music by Bach, Rameau, Paganini, Gershwin, Galliano and more.
“Christian-Pierre La Marca is a master of his instrument…and a musician of lyrical elegance” (Gramophone Magazine)
“Félicien Brut’s sensitivity…was fascinating in its clarity, agility, and timbre” (Diapason Magazine)
“Tender and intelligent music that makes you want to dream as much as to dance” (France Info [on Brut])
“A wonderful nuanced performance with Schubert’s sparkling melodies shining through” (The Telegraph [on La Marca])
“Leaving the audience spiritually uplifted and crying for more” (The Herald [on La Marca])
“[A] new ambassador of the accordion in the classical world” (Le Figaro [on Brut])
Marin Marais: La Folia – Christian-Pierre La Marca
Félicien Brut et Thibaut Garcia – Astor Piazzolla: Zita
Toccata in F major BuxWV157 Dietrich Buxtehude (1637-1707)
Sonata in D major J. H. Schmeltzer (?-1680)
Violin and organ
Chaccone in F minor Johann Pachelbel (1653-1706)
Passacaglia in G minor Heinrich Biber (1644-1704)
Chaccone in C minor Buxtehude
Chaccone in E minor Dietrich Buxtehude
Violin and organ
Chaccone in D minor Johann Pachelbel
Sonata no. 2 in D major from the ‘Frankfurter Sonatas’
G.P Telemann (1681-1767)
Violin and organ
Kevin Meehan is currently taking the Bachelors in Music Performance at the Royal Irish Academy of Music in Dublin, where he studies baroque and modern violin with Claire Duff and Mia Cooper respectively.
Kevin has a special interest in baroque music, and is a member of the Irish Youth Baroque Orchestra. He is the former leader of Waterford Symphony Orchestra, and amongst other groups, he has also performed with Wexford Sinfonia and the Royal Irish Academy of Music Philharmonia. He has participated in masterclasses with Bróna Cahill and David Edmonds.
Kevin has performed many public concerts with chamber ensembles and quartets around Ireland, and has lead multiple baroque chamber groups at the Royal Irish Academy of Music.
This month, Kevin will fly to Croatia with the other members of the Irish Youth Barroque Orchestra to play in a baroque festival in Varaždin.
Arthur Greene began playing the organ at the age of sixteen having already played the piano for many years. In 2015 he moved to Dublin from his native Kildare to read music at Trinity College Dublin. He held the title of organ scholar to the college for three consecutive years from 2017 – 2020, working under the director of chapel music, Dr. Kerry Heuston.
In 2019 he went to study full time in the Royal Irish Academy of Music completing a Masters in performance under Dr. David Adams. He continued to study composition and also took up the harpsichord during this time. He completed his studies in 2021 and was awarded an overall distinction. Although his main focus during his masters was in the baroque music of the 17th and early 18th century he enjoys performing across many genres including jazz and free improvisation.
He is the current organ scholar at Christ Church Cathedral in Dublin. Alongside this he works as a teacher, performer and composer.
Thursday 11 August 2022, 8 pm, St. Barrahane’s Church, Castletownshend
Director Susan Nares.
Soloists Orlaith Horan – soprano, Michael Krauss – baritone.
Colin Nicholls – organ and piano, Nora Killeen – violin, Diana Llewellyn – cello, Kevin Lewis – choir accompanist, Double Bass – Aisling Creedon, Harp – Ann-Marie Papin Labazordiere. Tickets €20, online, at the door, at Thornhill Electrical, Skibbereen or text/call 086 226 4797
‘Sotheysay’.This piece comes from a set of 5 lyrical pieces called ‘Les Chanson des Roses’ composed in 1993. Lauridsen was inspired by Rilke’s 1927 poems, Les Roses, that lovingly and elegantly explore the beautiful rose. In this movement, the lyrics reﬂect on the way the rose’s delicate petals enfold each other so lovingly. Complete unto itself, unlike Narcissus, it is redeemed.
‘ThepleasureofLove’. A cautionary tale on the ﬂeeting quality of love of a faithless lover and the enduring pain that can follow. This setting of the poem Célestine by Jean-Pierre Claris de Florian was composed in 1784.
À Chloris by Reynaldo Hahn
Baritone Michael Krauss, Accompanist Colin Nicholls
Hahn set this poem by the 17th Century poet Théophile de Viau in 1916. It is based on love for the beautiful Chloris, a nymph associated with Spring, ﬂowers and new growth. The joys of reciprocal love makes the young lover feel like a king! The Accompaniment is based on Bach’s ‘Air on a G string’
‘Afteradream’, composed from 1870 to 77, is an example of the lyricism of Fauré’s early works. There have been many arrangements of this beautiful music. The lyrics describe a dream of romantic ﬂight away from the earth ‘towards the light’. Wakefulness threatens the dream state and the singer pleads for the night to return.
Hasselmans taught harp at the Paris Conservatoire and did much to promote the popularity of modern harp playing. This piece, composed in 1898, is evocative of a fresh Spring scene, with bubbling water, green grass and fresh ﬂowers.
‘Pleurs D’Or’ op.72 by Fauré
Soprano Orlaith Horan, Baritone Michael Krauss, Accompanist Susan Nares
The lyrics of this delicious duet are based on a text by Albert Victor Samain entitled “Larmes”, (Tears) from Au jardin de l’Infante, first published 1893. Fauré’s setting changed the title to “Pleurs d’or” was published in1897. The music and text weave a tapestry evocative of water, bells, starlight and love.
This piece was written as an intermezzo between the ﬁrst and second acts of Massenet’s opera Thaïs in 1894. Here, the heroine, tries to meditate and align herself to spiritual belief and service. She attempts to revoke her previous life of parties and courtly pleasures. We hear and feel her struggles in this exquisite piece of romantic writing.
Entr’acte by Jacques Ibert
Flute Susan Nares, Ann-Marie Papin Labazordiere
In 1935 Ibert wrote incidental music for a French production of Pedro Calderon’s ‘El médico de su honra’. A tragic tale of jealous love and revenge. The music is unmistakably inspired by Andalusian music, moving between restrained passion and breathless dancing.
Caro nome che il mio cor by Verdi
Soprano Orlaith Horan, Accompanied by ‘The Ensemble’
This well-loved aria written for coloratura soprano, from the first act of Verdi’s opera Rigoletto portrays the heroine’s innocent naivety. The aria is a breathtaking portrayal of young love. Here, our heroine is unaware of the dark dealings, trickery and jealousy going on in the background. The libretto is based on a play by Victor Hugo called ‘Le roi s’amuse’.
SopranosoloistOrlaithHoran,BaritoneSoloistMichaelKrauss, Accompaniment: Colin Nicholls – organ and ‘The Ensemble’
So many composers have been inspired to compose settings of the Requiem Mass. Fauré’s requiem of 1888 stands apart in its gentle intensity. He wanted to create something that was consoling and helpful, in which people can rest in peace at the end of their lives. This amazing work depicts the timelessness of human existence, the procession of generations, human longings, profound sorrow, fear of the unknown, as well as light, hope, the ultimate joys of heaven, and, above all, peace.
Thursday 4 August 2022, 8 pm, St. Barrahane’s Church, Castletownshend Tickets €20, online, at the door, at Thornhill Electrical, Skibbereen or text/call 086 226 4797
A joyful programme of 16th/17th century Italian music and Irish arrangements. Programme booklet with texts and translation included.
For the duration of the Festival there will be toilets available at the church.
Se l’aura spira tutta vezzosa (1630) Girolamo Frescobaldi (1583-1643) Gemma, Caitríona, James
L’Amante Segreto (1651) Barbara Strozzi (1619-1677) Gemma, Caitríona, James
Augellin che’l tuo Amor (1620) Stefano Landi (1587-1639) Gemma, James
Sonata Representativa Heinrich Ignaz Franz von Biber (1644-1704) Caitríona, James
Ohimè, ch’io cado Claudio Monteverdi (1567-1643) Gemma, James
Holländsche Nachtigall Johann Adam Reincken (1643-1722) James
My Lagan Love Traditional Gemma, James
Táimse im’ chodladh Traditional, the Hibernian Muse (ca. 1770) Caitríona
O’Rourke’s Feast Turlough O’Carolan (1670-1738) with divisions & bass by L. Bocchi (fl. 1720) Caitríona, James
Eibhlín a Rún Traditional with variations by M. Dubourg (1703-1767) Gemma, Caitríona, James
The Lark in the Clear Air Traditional Gemma, Caitríona
Zefiro Torna (1632) Claudio Monteverdi (1567-1643) Gemma, Caitríona, JamesThe Cork County Harpsichord
The Cork County Harpsichord was made by the renowned English instrument maker Michael Johnson and purchased by Cork County Council in 2000 with assistance from the Arts Council.
The harpsichord is a copy of a mid-eighteenth century Franco-Flemish double manual instrument. The original, a Goermans/Taskin harpsichord c.1764-83, is in the Russell Collection in Edinburgh. It was chosen especially for its versatility. As a solo instrument it has the range and capacity to enable the performance of virtually the entire harpsichord repertoire. The harpsichord can be easily transposed to modern concert pitch or baroque pitch enabling it to be used in ensemble with either modern of period instruments.
Thursday 21 July 2022, 8 pm, St. Barrahane’s Church, Castletownshend Jerry Creedon and Friends Jerry Creedon – guitar, Eilis O’Sullivan – flute, Hugh McCarthy – cello Tickets €20, online, at the door, at Thornhill Electrical, Skibbereen or text/call 086 226 4797