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Home , Alessandro Scarlatti, Alessandro Stradella, Et in Arcadia ego, Francesco Maria Veracini, New London Consort, Ti Sento

Et in ego ITALIAN &

HANDEL • A. Scarlatti • Lotti • MANcini

CONCENTUS VII RES10142 (1685–1759) (1660–1725) Et in Arcadia ego Mi palpita il cor, HWV 132a Bella s’io t’amo for soprano, and basso continuo for soprano, recorder and continuo Italian Cantatas & Sonatas 1. Recit: Mi palpita il cor [0:37] 19. Recit: Bella s’io t’amo il sai [0:50] 2. Arioso: Agitata e l’alma mia [0:41] 20. : Ardo, è ver per te d’Amore [6:43] 3. Recit: Tormento e gelosia [0:38] 21. Recit: T’amo si, t’amo o cara [1:23] 4. Aria: Ho tanti affani [6:37] 22. Aria: Quel vento che d’intorno [3:40] 5. Recit: Clori, di te mi lagno [0:48] 6. Aria: S’un di ma’adora [3:39] Francesco Mancini (1672–after 1737) Concentus VII No. 1 in D Minor George Frideric Handel for recorder and continuo Pensieri notturni di Filli (Nel dolce dell’oblio), 23. Amoroso [2:28] HWV 134 24. Allegro [2:00] Emily Atkinson soprano for soprano, recorder and basso continuo 25. Largo [2:34] Louise Strickland recorder 7. Recit: Nel dolce dell’oblio [0:35] 26. Allegro [1:36] 8. Aria: Giacchè il sonno [3:41] Belinda Paul oboe & recorder 9. Recit: Cosi fida ella vive [0:20] (1666–1740) Amélie Addison cello 10. Aria: Ha l’inganno il suo diletto [2:58] Ti sento, O Dio bendato for soprano, oboe & continuo Martin Knizia harpsichord Alessandro Scarlatti (1660–1725) 27. Aria: Ti sento, O Dio bendato [5:10] Filli tu sai s’io t’amo 28. Recit: Non rifiuto i tuoi dardi [0:43] for soprano, recorders and basso continuo 29. Arioso: Fai soave il languir [1:32] 11. Recit: Filli, tu sai s’io t’amo [0:21] 30. Aria: Vieni pur ferisci, impiaga [3:34] 12. Aria: Tu ben sai [3:15] 13. Recit: Or se d’un cor [0:20] 14. Aria: Impara quei sospiri [1:36] Total playing time [67:16] 15. Recit: Se questo apprendi [0:28]

George Frideric Handel Sonata pour l’Hautbois Solo, HWV 357 for oboe and basso continuo 16. [Andante] [4:00] 17. Grave [1:38] 18. Allegro [2:33] Et in Arcadia ego: – later disgraced and discredited as a Italian Cantatas and Sonatas plagiarist when it transpired he’d allowed his friend Maurice Greene to pass off The Pontificia Accademia degli Arcadi Lotti’s work as Bononcini’s own. (The Academy of Arcadia) was an Italian literary society established in It was considered a great honour to be in 1690, although its origins can be traced invited to join this club, and it survived well back to February 1656, when a literary into the twentieth century. In 1925 the circle formed around the patronage of Academy was renamed the Accademia Queen Christina of Sweden. A Catholic Letteraria Italiana and became an historical convert who abdicated her throne in institute. 1654, she took her entourage to Rome where she established herself as a great George Frideric Handel (1685–1759) patron of the arts. Alessandro Scarlatti, attended meetings of the Academy while he Alessandro and Arcangelo was in Italy; Alessandro Scarlatti was also a Corelli all benefited from her largesse. member. The other works in our programme are all based on the themes typical Christina died in 1689 and the academy of the Academy’s house style. was established in her memory. The Academy’s purpose was to reform Italian Handel is best known today for the great poetry which they thought had become of the 1740s which became too extravagant and flowery. The Academy defining landmarks in an increasingly advocated a simpler, direct style and to this self-confident and distinctively English end took inspiration from the simple lives Georgian culture. But, like his patron the of peasants – an idealised world of rural King, he was born in Germany. His near innocence peopled with and dominance of ’s musical life in the nymphs and burbling streams; in short a 1710s and rested on a string of Italian recreation of an imagined Arcadian from which he made a fortune as replete with classical forms -impresario. Although he was and mythological themes. subsequently bankrupted (twice) as tastes shifted, these works were at the time In 1696 the Academy admitted seven genuinely and deservedly popular – catchy musicians including tunes first heard in the house on the lips of a diva would often find their way to Samson. obbligato in Italy at this time. It survives in temporarily appointed Maestro di Cappella less exclusive theatres and become a handwritten collection in the but by the end of the year the job was common currency. The cantata best known as Nel dolce dell’oblio Conservatorio di Musica in , Italy. returned to Alessandro Scarlatti. is in fact properly entitled Pensieri notturni di In 1706 Handel had yet to become a Filli and is thought to have been written in At the turn of the eighteenth century Naples There is some suggestion that Mancini household name. He counted up the money 1707, again while Handel was in Rome. At rivalled as of Europe’s greatest machinated against Scarlatti and plotted to he had earned teaching and set off for this point Handel became friendly with operatic centres and Scarlatti was Maestro usurp the position from him – although it Italy; he spent the next three and a half Alessandro Scarlatti and fell under the di Capella there with the Capella Reale of the has to be said that the post could have been years there. He befriended Alessandro influence of the Arcadian Academy. Spanish Viceroy (1683-1687) and Director seen as fair game, given that Scarlatti hadn’t Scarlatti and his son Domenico, worked Following the fashion of the time the of the Neapolitan theatre, San Bartolomeo been in residence for over two years. with Corelli, and met both Albinoni and recorder compliments the pastoral theme (1689-1703). Apart from brief intervals Vivaldi. of the work. working in Rome (1703-1708 and 1718-21) Upon Scarlatti’s eventual return Mancini Scarlatti remained in Naples for the rest worked as his deputy and, after ten years, It was in Italy that Handel began writing The Sonata pour l’Hautbois Solo was also of his life. was promised that he would succeed Scarlatti oratorios after the Italian fashion. He composed while Handel was in Rome (and indeed did so in 1725, remaining in the produced a truly staggering number of sometime between 1707 and 1709 and was Filli tu sai s’io t’amo (1701) comes from the post until his ). Mancini became Director cantatas, two of which we have included probably written for his principal oboist collection of the Roman priest and composer of the Conservatorio di S Maria di Loreto in on this recording. At the same time he Ignazio Rion. It is the shortest and earliest Fortunato Santini (1778–1861) housed in 1720, and thus held much influence over attracted many influential sponsors from of Handel’s oboe sonatas. The first the Diözesanbibliothek, Münster, Germany. succeeding generations of Neapolitan both within the church and from movement (without title) is of an elegant The state of the manuscript suggests the . the nobility and made the connections simplicity, the ‘Grave’ more in the style of cantata may have been written in a hurry which finally brought him to London. an Italian aria and the work ends with a as it is splashed with ink blots and contains Although an organist, most of Mancini’s sprightly ‘Allegro’. many imprecise slurs, lurching bar lines surviving compositions are vocal. He wrote Mi Palpita il Cor is an extravagant and and pages containing only a few scrawled many operas (largely based around pastoral virtuosic work—its languid, indulgent The cantata Bella s’io t’amo (formerly known bars of music. subjects) – of which Idaspe Fedele was the opening aria and tempestuous finale as known as Ardo è ver, per te d’amore) is first opera to be sung in London wholly in are punctuated with impassioned one of seven hundred and twenty eight Francesco Mancini (1672–1737) was Italian (1710) – and cantatas as . One of several re-workings cantatas by Alessandro Scarlatti (1660–1725). remarkably un-travelled for an eighteenth- well as a number oratorios. His sacred music of an earlier cantata written in Rome, In recent years the opening recitative has century composer; he lived, worked and was particularly popular, finding its way into Handel was evidently very pleased come to light, completing the work. It is died in Naples. He entered the service of libraries and collections far across Europe. with it; he re-arranged the work four unusual in having a wind obbligato (most the Viceroy early in the eighteenth century times for a variety of different instruments of his cantatas are without obbligato or with and in 1704 became the principal organist Stylistically Mancini’s music bridges the gap and reused the music once again in his violin) and indeed in the use of a recorder of the royal chapel. In 1708 he was between Scarlatti and the later Neapolitan Concentus VII opera which became all the rage in the opera company for his son’s amusement. His music is often experimental and forward second half of the eighteenth century. Lotti obtained leave from San Marco in order looking and in retrospect forms a natural Based in London, Concentus VII performs He retained a fondness for contrapuntal to direct this venture, which involved an array link between the and Classical. His smallscale Baroque works for wind writing and dramatic harmonic changes, of musical luminaries, including Johann David enthusiasm for suspensions, chromaticism, instruments, voices, strings and basso but also favoured more modern features Heinichen (later appointed Kapellmeister) unprepared discords and creative scontinuo. such as harmonic pedal points. Mostly and the flamboyant violin virtuoso and modulation stemmed from his attention though, we can appreciate his gift of composer Francesco Maria Veracini. to wordpainting and in many ways it seems The group’s repertoire ranges from melody – the easy lyrical virtuosity that his music bypasses the Classical and leaps Monteverdi to C.P.E. Bach, and is drawn characterises both the solo and bass lines The new opera house was both enormous straight into the Romantic, yet he was still from the intimate, often virtuosic and in this sonata. (seating 2000) and lavishly appointed. It was old-fashioned enough to relish complicated experimental music composers wrote for completed in time for the month-long contrapuntal techniques. the enjoyment of their friends, families Antonio Lotti (1666–1740) was born in spectacular staged to celebrate the wedding and colleagues. Venice, although his Italian father Matteo of the Crown Prince to the Habsburg Although Lotti composed a great number was officially Kapellmeister in Hanover Archduchess Maria Josepha, the daughter of secular cantatas, very few include obbligato Members perform with leading early music at the time. For many years Lotti was of the late Emperor Joseph I. Alongside the instruments. Like Handel’s oboe sonata, ensembles including The Academy of Ancient employed at the Basilica of San Marco in ranks of massed European royalty and this work forms part of the collection of Music, New London Consort, Il Giardino Venice, first as an alto, then as an organist, nobility, both Telemann and Handel were Richard Fitzwilliam (7th Viscount), now Armonico, Gabrieli Consort and Players, then in 1736 (after a protracted series of present when Lotti’s opera Teofane was housed in the Fitzwilliam Museum, Ensemble Philidor, The Sixteen, The Tallis competitions) attaining the position of staged at the beginning of this extravaganza. Cambridge. Scholars and Akademie für Alte Musik Berlin. Primo Maestro di Cappella. Lotti wrote a considerable body of sacred music both Following the celebrations, Lotti returned © 2015 Belinda Paul & Louise Strickland The group’s debut recording of works by for San Marco and for the famous to Venice, leaving a number of the Italian Handel, C. P. E. Bach and Telemann is female choir of the Ospedale degli Incurabili. singers and players behind in Dresden. available from iTunes and Amazon. He spent most of his working life in Venice, Several, among them , were being with the notable exception of a two year courted by Handel, who was recruiting for www.concentus7.com period from 1717–1719. his new opera company in London. The cantatas by Lotti, Alessandro Scarlatti By 1717 the court in Dresden was falling Lotti was an influential teacher; his students and Handel on this recording are offered in increasingly under the influence of Italian included Jan Dismas Zelenka, Domenico practical performing editions by Green Man musicians. Crown Prince Frederick Augustus Alberti, Benedetto Marcello and Baldassare Press, which include the texts and translations was an ardent fan of , and Galuppi. Both and printed in this booklet. Details of the wore his less enthusiastic father down to George Frideric Handel owned copies of complete collection of vocal music published the point where he agreed to hire an Italian his works. by Green Man Press are to be found at www.greenmanpress-music.co.uk. Texts and Translations 5. Recit: Clori, di te mi lagno, 5. Clori, of you I complain, e di te, o Nume, and of you, oh God, George Frideric Handel (1685–1759) figlio di Citerea, son of Cytherea, Mi palpita il cor ch'il cor ferisci who wound my heart for soprano, oboe and basso continuo per una che non sa on account of one who che cosa è amore. does not know what love is. 1. Recit: Mi palpita il cor 1. My heart beats fast, Ma, se d’egual’saetta But, if you with the same dart né intendo perché I neither understand why… a lei ferisci il core, wound her heart also, più lagnarmi non voglio; I no longer wish to complain; 2. Arioso: agitata è l’alma mia 2. my soul is troubled… e riverente inanti, but reverently before né so cos'è. nor do I know what is the matter. al simulacro tuo prostrato your image prostrate on the ground, a terra, umil, devoto, adorerò humble, devoted, I will adore 3. Recit: Tormento e gelosia, 3. Torment and jealousy, quel Dio che fè contento this god that satisfied sdegno, affanno e dolore, anger, suffering and grief, e pago il mio desio. and fulfilled my desire. da me che pretendete? what do you want from me? Se mi volete Amante, If you wish me to be a lover, 6. Aria: S’un dì m’adora la mia crudele, 6. If one day my cruel love loves me, amante sono, then lover I am, contento allora il cor sarà. then my heart will be truly content. ma, o Dio! non m’uccidete but, oh God, do not kill me Che sia dolore, che sia tormento, Be there sadness, be there torments, ch’il cor fra tante pene for my heart among so many pains questo mio seno più non saprà. this my heart will no longer know. più soffrire non può can no longer le sue catene. bear its chains.

4. Aria: Ho tanti affanni in petto 4. I have so many sufferings in my breast che qual’ sia il più tiranno that which is the most oppressive io dir nol’ so. I know not how to tell. So ben che do ricetto I know well I give lodging a un aspro e crude affanno to a harsh and cruel suffering e che morendo io vo’. and that I want to die. George Frideric Handel Alessandro Scarlatti (1660–1725) Pensieri notturni di Filli (Nel dolce dell’oblio) Filli tu sai s’io t’amo for soprano, recorder and basso continuo for soprano, recorders and basso continuo

7. Recit: Nel dolce dell’oblio benchè riposi, 7. Although she might be resting in the 11. Recit: Filli, tu sai s’io t’amo, 11. Phyllis, you know I love you, la mia Filli adorata sweetness of oblivion, my adored Phillis ma se dell’amor mio but if you expect veglia coi pensier suoi, is wakeful with her thoughts, prove maggior pretendi, greater proofs of my love, e in quella quiete Amor non cessa mai and in the stillness Love never ceases o non conosci Amor, either you don't know love, con varie forme with different images to disturb o non l’intendi. or you don't understand it. la sua pace turbar mentre ella dorme. her peace while she sleeps. 12. Aria: Tu ben sai ch’hai nel tuo petto 12. You know well that you have in your breast 8. Aria: Giacchè il sonno a lei depinge 8. Now as sleep depicts for her il mio core tutto Amore e tutta fe’. my heart all of love and all of faith. la sembianza del suo bene, the face of her beloved, E sai ben che sospirando sempre dice: And well you know that sighing it always says: nella quiete ne pur finge in the stillness pretends as well infelice, ardo per te. unhappy, I burn for you. d’abbracciar le sue catene. to wrap him in chains. 13. Recit: Or se d’un cor che tu racchiudi in seno 13. Now if you do not still feel the ardour 9. Recit: Così fida ella vive al cuor che adora, 9. Thus faithful she lives for the heart she non senti ancor l’ardore, of a heart that you enclose in your bosom, e nell’ombra respira adores, and in the shadow she breathes o non intendi, o non conosci Amore. either you don’t understand or you don’t know Love. la luce di quel sol per cui sospira. in the light of this sun for which she sighs. 14. Aria: Impara quei sospiri 14. Learn those sighs 10. Aria: Ha l’inganno il suo diletto 10. This illusion has its pleasure che manda un cor dal petto that a heart sends out from your breast: se i pensier mossi d'affetto if thoughts moved by affection son prove dell'affetto, they are proofs of affection stiman ver ciò che non sanno. count as true what they do not know. e quello è Amore. and that is Love. Ma se poi si risveglia un tale errore But if one becomes aware of the mistake Or se di sospirare If now it lights in you il pensier ridice a noi: the thought rebounds on us: t’accende il bel desir, a fine desire to sigh, ha l’inganno il suo dolore. this illusion leads to grief. di’ pur che quei sospir say indeed that those sighs son del mio core. are of my heart.

15. Recit: Se questo apprendi, o Filli, 15. If you learn this, O Phyllis altro non bramo. I seek nothing else. Apprendilo e vedrai, Learn it and you will see, Filli, s’io t’amo. Phyllis, if I love you. Alessandro Scarlatti (1660–1725) 21. Recit: T’amo si, t’amo o cara, 21. I love you, o my dear I love you, Bella s’io t’amo ma dell’amarti, oh Dio, but in loving you, oh god, for soprano, recorder and continuo sento un tremore I feel a trembling che non da pace al core, that does not give peace to my heart, 19. Recit: Bella, s'io t'amo il sai, 19. My love, you know that I love you, e m’avvelena in sen ogni piacere. and poisons in my breast all pleasure. e sai l'imenzo foco and you know of the immense fire Tremo, che nel vedere I tremble, that in seeing through che m'accesero in sen tuoi vaghi rai. your lovely gaze has lit in my heart. un lucido cristallo il tuo bel viso the clear pane of your lovely face Te noto che ogni loco I look for you everywhere lo stesso cor ch’ai in sen, the very heart you have in your breast, ove, o cara, non sei but when, my love, you are not there resti conquiso dal gran poter you remain conqueror with the great orrido è a gl'occhi miei, it is painful to my eyes, delli tuoi lumi vaghi power of your beautiful eyes e da te lungi non ritrovo pace. and apart from you I find no peace. e sento pena al cor, fiera et amara; and I feel pain in my heart, fierce and bitter; Ma la pena più ria, But the frightful pain, temo che ogn’un sgopaghi I fear that you reward everyone with il duolo più mordace, the searing grief, della bellezza tua si vaga e rara, your fine and rare beauty, che mi tormenta il cor, that torments my heart, et in fine pavento del sole ancor, and in the end, I am jealous even of the sun, non sai qual sia. you do not know how great it is. dell’Aura ancor, del vento. of the dawn even, of the wind. 20. Aria: Ardo, è ver, per te d’Amore, 20. It is true I burn with love through you, 22. Aria: Quel vento che d’intorno 22. That wind that always playfully ma la pena del mio core but the pain in my heart scherzando ogn’or ti va, goes around you, non è Amor, è Gelosia. is not Love, it is Jealousy. preso da tua beltà, caught by your beauty, Questa sol col suo timore, This alone with its fear, vien per baciarti; comes to kiss you; del suo gel col fier rigore, with its icy harshness, e il vago Dio del giorno and the great god of day da tormenti all’alma mia. gives torments to my soul. quando a te fissa un raggio when he casts on you a ray l’invia per darti omaggio sends it to pay you homage ed adorarti. and to adore you. Antonio Lotti (1666–1740) American soprano Emily Atkinson studied Utrecht Festival. Belinda has performed Ti sento, O Dio bendato at the Crane School of Music in New York many of the major romantic orchestral for soprano, oboe & continuo and the Royal College of Music in London. works both in the UK and abroad. She studied She has appeared as a soloist in more romantic oboe with Marcel Ponseele, 27. Aria: Ti sento, O Dio bendato 27. I feel, O blindfold God, than forty Bach cantatas with the topping her year at Philippe Herreweghe’s che vuoi ferirmi il cor, that you wish to wound my heart, Sweelinck Ensemble for Lutheran vespers Abbaye aux Dames course in France. She ma d’un sì vago viso but with so lovely a face, services in the City of London. As a has appeared with I Fagiolini and in the ond’io resto conquiso that I am overcome consort singer, she has toured extensively West End transfer of the Globe’s production a tanto suo fulgor. by so much splendour. with the Tallis Scholars and participated of Richard III on curtal, shawm and in their premiere of John Tavener’s recorder. 28. Recit: Non rifiuto i tuoi dardi, 28. I do not refuse your darts, Fragments at the BBC i tuoi dardi non biasmo I do not blame you for them Proms. Emily is also a busy chamber music Recorder player and clarinettist Louise e non detesto i tuoi crudi tormenti and I do not detest the cruel torments recitalist, performing with consorts, Strickland began her studies at the Guildhall che fai provare a tante miser genti; you use to test wretched mortals; baroque chamber groups and other early School of Music and Drama and furthered anzi col bel desio rather with strong desire music ensembles in the UK and abroad. her interest in early music by taking a sospiro le catene I sigh for the chains She enjoys presenting creative recitals Masters in Historical Musicology at e volontieri io porgo and willingly present with other musicians, and she is an Goldsmiths, University of London. She also questo cor alle pene. this my heart to these pains. experienced and dedicated teacher of studied Classical and Romantic orchestral So ben, Amor, che sei dolce tiranno: I know well, Love, that you are a gentle tyrant: primary class music. performance at the Abbaye aux Dames, Saintes, France as part of the Jeune Orchestre 29. Arioso: fai soave il languir, 29. you make yearning sweet, Belinda Paul studied modern oboe at the Atlantique. As a freelancer Louise has caro l’affanno. anguish to be cherished. VCA (University of Melbourne.). She won worked with high profile ensembles such a scholarship to study baroque and as New London Consort, Il Giardino Armonico, 30. Aria: Vieni pur, ferisci, impiaga, 30. So come now, hurt, wound me, classical oboe in the Netherlands with Frank The Gabrieli Players, Retrospect Ensemble, vola tosto, o Dio d’Amor. fly to me at once, O God of love. de Bruine and Ku Ebbinge. Now based in London Handel Orchestra and Les Arts Avrò cara la mia piaga I will cherish my wound London, she plays with orchestras such as Florissant. She is also a founder member se darai speme al dolor. If you will give me hope in my pain. the (as principal of the clarinet and basset horn trio Clarino and sub-principal), Gabrieli Consort & Players Ensemble. Notable chamber music and La Stagione Frankfurt. She has recorded performances include touring with the Translations © Cedric Lee with the Academy of Ancient Music, Ex French wind ensemble Ensemble Philidor on Cathedra and The Hanover Band; her clarinet and basset horn and concerts in operatic engagements include a stint at St venues such as London’s Purcell Room and Petersburg’s Hermitage Theatre and the De Doelelan, Rotterdam with New London Other titles from Resonus Classics Consort and Musicians of the Globe. Louise Martin Knizia was educated in Germany at has recorded for BBC Radio 3, France the Musikhochschule Lübeck and in Bella dama: Baroque Cantatas Musique, ORF and Deutsche Grammophon. London at the Royal Academy of Music. Raffaele Pé & Spiritato After having held a Junior Fellowship and RES10115 Amélie Addison grew up in Gateshead position as Associate Professor for and received her first cello lessons from Baroque Organ Improvisation and Figured ‘[...] if anyone still doubts that the elder Julia Watson through the local music Bass at the RAM, he now pursues a busy Scarlatti is a great composer in his own right, service. She went on to study at the Royal career as soloist, continuo player and just listen to Pé and Spiritato! performing 'Vulnera percute, transfige cor.' Scottish Academy of Music and Drama, conductor, as well as being Cantor and Gramophone Glasgow, where she also participated in Director of Music at St Anne’s Lutheran performances of Bach choral works with the Church. He has appeared at venues and Dunedin Consort under John Butt, and was festivals throughout England. Martin has Daniel Purcell: The Judgment of then awarded scholarships to study Baroque conducted Handel’s Acis and Galatea for Spiritato & Julian Perkins (director) cello and continuo with Susan Sheppard the English Bach Festival at the Linbury Studio RES10128 and Joseph Crouch at Trinity College of of the Royal Opera House and e has Music. Amélie founded Due Corde with appeared live on BBC Radio 3 with ‘Daniel Purcell’s drama is absorbing and certainly musically entertaining [...] violinist Anne Marie Christensen in 2008 to from Purcell’s The Fairy Queen. His High quality entertainment' explore improvisatory bass line realisation in interest in editing has resulted in a critically BBC Radio 3 CD Review 18th century string repertoire; they acclaimed edition of ’s subsequently won both Trinity College of Complete Organ Works, published by Music Early Music Competition and the Universal Edition Vienna. Martin is the Royal College of Music Richard III Prize founder and director of the Sweelinck © 2015 Resonus Limited for Historical Performance. Amélie is Ensemble, a period instrument group, which è 2015 Resonus Limited also continuo cellist of Dei Gratia, an has given many acclaimed concerts of 17th Recorded in St John’s Church, Loughton, Essex on 26-29 August 2013 Producer, Engineer and Editor: Adrian Hunter emerging period instrument chamber and 18th century music. In 2009 he was Executive Producer: Adam Binks ensemble specialising in sacred music, made an Associate of the Royal Instrument photography: Sophie Ziegler and performs baroque trio sonatas and Academy of Music. Recorded at 24-bit / 96kHz resolution classical string trios with Akenside Players. Cover image: Capital by Steve Snodgrass (flickr.com – Creative Commons) Special thanks are due to Cedric Lee and John Richards for sponsoring this project Amélie recently relocated to Leeds in order to begin a PhD at the University, DDD – MCPS investigating the life and works of Tyneside-born composer William Shield (1748-1829), with RESONUS LTD – LONDON – UK a focus on his use of traditional folk melodies. [email protected] www.resonusclassics.com RES10142