Join Margrit Hasler and Rosie Richardson for an evening of music set to the sounds of the viola and piano. Programme Johann Sebastian Bach (1685 – 1750) Viola da gamba sonata in G Major BWV 1027 Adagio Allegro ma non tanto Andante Allegro moderato Benjamin Britten (1913 – 1976) Lachrymae for Viola and Piano Op.48, ‘Reflections on a song of Dowland’ INTERVAL Johannes Brahms (1833 – 1897) Viola Sonata in F Minor Op. 120, No.1 Allegro appassionato Andante un poco adagio Allegretto grazioso Vivace We do not know exactly when the gamba sonatas were composed, but modern research suggests that all were written in Leipzig during Bach’s later years. Sonata in G Major, BWV 1027 also exists in an earlier version for two flutes and continuo, BWV 1039. It might seem strange that a sonata originally conceived for two instruments and keyboard should work equally well for one instrument and keyboard; but actually it makes perfect sense. All three gamba sonatas are trio sonatas, written for three equal voices—one being the gamba, in this case the viola, the other two the treble and bass of the keyboard. Britten began learning the viola aged around nine or 10 and composed a number of early pieces for it, including a sonata in 1926. In later life, however, the only piece that exists for solo viola is the beautiful Lachrymae where it is accompanied by piano. It was composed for the Scottish violist William Primrose, whom Britten encountered during a visit to the USA In 1949. The story goes that Britten promised Primrose a new piece, partly to persuade the player to perform at the Aldeburgh Festival, forgot all about it then composed it overnight following a telephone reminder from Primrose. Such haste is scarcely evident in this haunting and cleverly worked-out piece. In 1894 the sixty-one-year-old Brahms presented his friend Mühlfeld with two further works—a pair of sonatas for clarinet and piano, his very last pieces of chamber music, composed that summer at Bad Ischl. Mühlfeld and Brahms introduced them first at a private concert in Berchtesgaden for the Duke and Duchess of Meiningen, and in January 1895 they gave the public premieres in Vienna. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them—with a certain amount of recomposition in each case—in two parallel forms: as sonatas for viola and piano, and for violin and piano. Margrit Hasler Margrit has enjoyed an extensive career in classical music, playing with some of the greatest conductors such as Solti, Haitink, and Mehta. She has worked in numerous orchestras including the Royal Opera House, Britten Sinfonia, and La Scintilla, accompanying Cecilia Bartoli on international tours. As a member of Philharmonia Zurich she also followed her passion for chamber music, performing many concerts with the principals. Margrit has always been interested in many styles of music and this led her to actively explore other scenes. She studied improvisation in New York and took part in string camps in the US, learning bluegrass and other roots repertoire. She toured the UK with two contemporary jazz groups, Mark Lockheart’s ‘Ellington In Anticipation’ and Chris Batchelor’s ‘Zoetic’. These experiences have all provided inspiration for her project for solo viola with loop pedals, reflecting her immersion in these different musical traditions. Rosie Richardson Since graduating with a master’s in solo performance from the class of Professor Joan Havill at the Guildhall School of Music and Drama, Rosie has become well known for her work as a collaborative pianist. In this capacity, Rosie has given London recitals at Milton Court, the Wigmore Hall, the Purcell Room, Bridgewater Hall, and the 1901 Arts Club; in addition to music societies around the country. Overseas engagements have taken her across Europe and to the USA. Alongside this work, Rosie is ordained in the Church of England and is currently Associate Vicar at St. Paul’s Knightsbridge, where she enjoys the variety of being a priest and pianist. //