Saturday 21st September in St Mary's Church at 7.30pm

ENSEMBLE HESPERI

Thomas Allery harpsichord

Mary-Jannet Leith recorder

Magdalena Loth-Hill baroque violin

Florence Petit baroquecello

Kathleen Gilbert dance


Programme (subject to change)

The Pheasant's Eye

Airs for the Seasons’                                           James Oswald (1710-1769)
The Phesant’s Eye - The Tulip – The Lily

Trio Sonata in C                                                      Earl of Kelly (1732 – 81)
Andante Grazioso - Fuga – Tempo di Minuetto

Ciacona Op 2, No. 12                                   Arcangelo Corelli (1653 – 1713)

A Collection of Scots Tunes                            Francesco Barsanti (1690 – 75)
The Lass of Peaty’s Mill – Bonny Jean of Aberdeen - Clout the Cauldron

Trio in F Major                                       Francesco Geminiani (1687 – 1762)
Andante: The Last time I came o’er the moor – Grave – Allegro

Solo II (A Second Sett of Six Solos)                         John Reid (1721 – 1807)
Andante – Allegro – Moderato – Giga

Trio sonata in D Major on Scots tunes                  James Oswald (1710-1769)
O mother what shall I do – Ettrik Banks – She rose and let me in
Cromlit’s Lilt – Polwart on the Green (variations)

Sonata no. IV                                                 Carlo Tessarini (1690 – 1766)
Adagio – Allegro – Largo - Presto

A Treatise of Good Taste in the Art of Musick Francesco Geminiani (1687-1762)
Airs on ‘Auld Bob Morrice’ & ‘Sleepy Body’

Trio sonata in imitation of Corelli                 William McGibbon (1690 – 1756)
Adagio – Allegro – Largo – Allegro

Lady Anne Lindsay’s Minuet                                    Earl of Kelly (1732 – 81)

Airs for the Seasons – Spring                             James Oswald (1710-1769)
The Narcissus – The Ranunculus

Variations on ‘The Hare in the Corn'                     Robert Riddell (1755 – 94)

“Ensemble Hesperi’s dazzling and stylish performance of these attractive works captivated our audience, and their presentation of these remarkable Scottish folk settings gave a real insight into this hitherto neglected repertoire.” Three Towers Festival, 2017

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EnsembleHesperi1

Thomas Allery and Mary-Jannet Leith formed Ensemble Hesperi (‘Evening Stars’) in 2012 while studying on the Masters programme at the Royal College of Music where they performed regularly as part of the Historical Performance Department. Ensemble Hesperi won the Audience Prize at the Fenton House Early Keyboard Ensemble Competition in 2012 and the Century Fund Prize at the RCM Early Music Competition in 2013. Recently, recent engagements have included appearances at the London Handel Festival, the Hurst Festival and the St Marylebone Festival. As a duo, Mary-Jannet and Thomas were also delighted to be selected for the career development Brighton Early Music Festival Live! Young Artists’ scheme for 2016-2017. In 2017, the ensemble has been privileged to be invited to showcase its Scottish programme as ‘Future Baroque’ artists at the London Festival of Baroque Music and further afield at the Fringe festivals of Musica Antiqua Bruges and Oude Muziek Utrecht. Following their success as BREMF Live! Artists, Ensemble Hesperi will be returning to perform their ‘Phesant’s Eye’ programme at this year’s ‘Roots’ festival.


British-Polish violinist
Magdalena Loth-Hill studied at the Royal College of Music, London, with Itzhak Rashkovsky and Laura Samuel and later took up baroque violin with Adrian Butterfield and Lucy Russell. Magdalena graduated in 2013 with first-class honours and in 2015 gained a Master’s degree with Distinction. She was awarded the 2015/16 Mills Williams Junior Fellowship at the RCM, a post she held alongside studying for an Artist Diploma in baroque violin. As an Orpheus Scholar at the RCM, Magdalena has been supported by a Douglas and Hilda Simmonds Award, the Countess of Munster Trust, the Cumbria Cultural Fund, the Seary Trust, the Kathleen Trust, the Denne Gilkes Memorial Fund, the Else and Leonard Cross Trust and the Lynn Foundation.
At the RCM, Magdalen performed as soloist in Bach’s E major concerto, Brandenburg No. 4 and the Bach Double Violin Concerto. She has led the RCM Baroque and Classical orchestras, under Christopher Hogwood and Vittorio Ghielmi amongst others, and has performed live on BBC Radio 3 In Tune. Magdalena has toured in Italy, Germany, France, Austria, the Czech Republic, the United States and Bolivia. In the UK, she has performed at the Wigmore Hall, Cadogan Hall, the Royal Albert Hall, Queen Elizabeth Hall, the Royal Festival Hall, Buckingham Palace and Kensington Palace. She joined Florilegium to record their 25th Anniversary CD, and was a participant in the 2015 Orchestra of the Age of the Enlightenment experience scheme: she has also performed regularly with the Academy of Ancient Music, the OAE, Florilegium, and Ex Cathedra.
 

Franco-British cellist Florence Petit is an innovative and exciting young musician. Achieving her Diploma in Musical Studies in 2008, Florence continued her cello studies with Philippe Müller in Paris before moving to London to complete her Bachelor’s and Master’s degrees at the Royal College of Music (RCM), graduating with first class honours. The recipient of a diverse host of awards and prizes, Florence was generously supported by the Lynn Foundation, Saint Jude’s Trust, the Denne Gilkes Memorial Foundation and the Raphael Sommer Foundation during her studies and participated in many European competitions, including the Concours des Zontas Clubs de France. Florence has taken part in numerous master classes with eminent musicians such as Johannes Goritzky and Jonathan Manson.
In demand as a soloist, Florence has a regular programme of recitals throughout the UK with the acclaimed Franco-Taiwanese pianist Lysianne Chen. Florence is a founding member of the Leben Quartet and is a keen practitioner of historical performance, playing across Europe and the UK with her quartet Ignis. Florence is passionate about discovering neglected chamber repertoire and exploring interesting instrumental pairings.


Kathleen Gilbert BFA, BEd, MA
has developed an international career in Highland dance. For over twenty years she has been an exponent of this dance form and now enjoys a varied career performing, teaching, lecturing and adjudicating all over the world. Kathleen enjoyed early success in competitions while growing up in Western Canada. From the outset, Kathleen began exploring the use of dance to tell stories and started choreographing projects in collaboration with other arts forms.
In addition to Highland dance, Kathleen also works in ballet, tap, jazz, modern, musical theatre, and in various ballroom styles. She also has a passion for musical theatre where she directs and choreographs shows with a focus on new writing. Kathleen is also a trained schoolteacher and has extensive experience working with ages 3 through to 18 and she is proud of combining academic and theoretical principles with aesthetics in her teaching.
As a Fellow with the SDTA (Scottish Dance Teachers Alliance), Kathleen is proud to kindle enthusiasm in dance and keep the traditions of Highland dance alive in her preparation of students for exams and competitions. In 2010 she became a member of the SOBHD (Scottish Official Board of Highland Dancing) Judge’s Panel; a role which has led to adjudication tours on both sides of the Atlantic. She also serves as the secretary for the HDTAE (Highland Dance Teachers Association of England).
Highland dancing has led Kathleen to all corners of the world, enjoying working in dance in different contexts. In the wider public eye, she has performed for Queen Elizabeth II, taught an MTV host how to do the Fling and has worked with Torvill & Dean to aid in choreography for ‘Dancing on Ice’. She prides herself in her technical perfection in her own performance and in her teaching. Kathleen is committed to championing Highland Dance and to bringing it to a wider audience.

Ensemble Hesperi is an innovative, early music ensemble of young players based in London. Its core members, Thomas Allery and Mary-Jannet Leith, are dedicated to showcasing the infinite colours and possibilities of their instruments, harpsichord and recorder. They bring lesser-known early music to a wider audience, presenting programmes through the lens of colourful characters from the musical past.

The ensemble has a particular interest in promoting unpublished and previously undiscovered Scottish baroque repertoire, exploring the fascinating links between Scotland, London, and the Continent through baroque music during the eighteenth century. Frequently working with other young, early music musicians, the ensemble enjoys presenting music alongside readings, poetry and taking audiences on new musical journeys.