Concert Programs & Ensembles

Menno van Delft offers a great variety of solo programs, both on the harpsichord and on the clavichord or a combination of both. The clavichord, the softest of all keyboard instruments, is perfectly suited for smaller venues where it creates an atmosphere of musical intimacy and involvement.
The repertoire of the harpsichord is inexhaustible. The keyboard oeuvres of William Byrd, Girolamo Frescobaldi, Johann Jakob Froberger, Louis and François Couperin, Johann Sebastian Bach and Domenico Scarlatti (to name but the seven greatest) offer an interminable wealth and musical variety of unsurpassable quality. Here we offer two examples of programs that combines pieces by some of the most famous composers with music from unexploited repertoires.

Italian keyboard music from around 1600

Antonio Valente (...1560-1580...)
- Fantasia in Mode I
(from: Intavolatura de cimbalo ...libro I, Napoli, 1576)

Rocco Rodio (ca. 1535 - nach 1615)
- Fantasia sopra La mi re fa mi re a4
(aus: Libro di ricercate, Napoli,1575)

Hippolito Tartaglino (1539 - 1582)?
- Canzon

Giovanni Maria Trabaci (ca. 1575 -1647)
- Ricercar sesto tono con tre fughe, etsuoi riversi
- Canzona francesa IV
(from: Ricercate, canzone francese ... ,Napoli, 1603)

Gregorio Strozzi (ca. 1615 - 1687)
- Corrente I, II & III
(from: Capricci da sonare cembali,organi, op. 4, Napoli, 1687)

Michelangelo Rossi (1601/2 - 1656)
- Toccata VII
(from: Toccate e correnti, Roma,1657)

Bernardo Storace (Ende 17. Jahrh.)
- Ciaconna
(from: Selva di varie compositioni,Venedig, 1664)

Girolamo Frescobaldi (1583 - 1643)
- Capriccio sopra la bassafiamenga (1624)
- Gagliarde I - V (from the “Libro secondo”, 1627)
- Toccata nona (from “Libro primo”)
- Cento Partite sopra Passacagli (from “Libro primo”)

The Virginalists - English and Netherlandish keyboard music from the early 17th century
(Played in the Festival van Vlaanderen, Laus Polyphoniae, Antwerpen, 31 Aug. 2002)

Thomas Tomkins (1573-1656)
- Prelude in a
- Pavan & Galliard in a (1650)
(from: Paris, Bibliothèque nationale, département de la musique, fonds conservatoire, MS
Réserve 1122)

John Bull (1562/63 - 1628)
- Les Buffons
(from: London, British Library, MS Add. 23623)
- My Grief
(from: Cambridge, Fitzwilliam Museum, Mu. MS 29 (Fitzwilliam Virginal Book) & London, British Library, MS R.M. 23.1.4 (The Benjamin Cosyn's Virginal Book)
- Go from my window
(from: New York, Public Library, Ms. Drexel MS 5612)

Jan Pieterszoon Sweelinck (1562-1621)
- Fantasia Chromatica
(from: Berlin,DeutscheStaatsbibliothek, Lübbenauer Orgeltabulaturen, MS Lynar AI & Wien,
Minoritenkonvent, Klosterbibliothek und Archiv, MS 714)
- Malle Sijmen
(from: Leningrad, Naucno-issledovatel'skij Institut, MS QN 204)
- Pavana Lachrimae
(from: Budapest, Nationalmuseum, MS 27)
- Echo Fantasia in C
(from: Berlin, DeutscheStaatsbibliothek, Lübbenauer Orgeltabulaturen, MS Lynar A I & B I)

John Bull
- Coranto 'Alarm'
- Dutch Dance
(from: London, BritishLibrary, MS Add. 23623)
- In Nomine V
(from: Paris, Bibliothèque nationale, departement de la musique, fonds conservatoire, Réserve
MS 1184, 1185)

Thomas Tomkins
- Baratostus Dream
(from: Cambridge, Fitzwilliam Museum, Mu.MS 29 (Fitzwilliam Virginal Book))

Clavichord Solo

The clavichord, an invention from the late Gothic era, was regarded for centuries as the fundamental keyboard instrument (Michael Praetorius, 1619). Its simple construction and modest size made it one of the cheapest and most practical instruments for household use. For novice keyboard players, the simple yet sensible and revealing touch was very useful for learning. In the course of the 18th century, the very quiet clavichord became increasingly valued for its expressive possibilities. Through the keys and the tangent (a brass plate that is pressed against the string), the player has contact with the string for as long as the key is held down. As a result, it is possible to evoke much greater dynamic differences that on the organ or a harpsichord. A clavichord is even capable of making a vibrato, a technique called Bebung (a German term).
By the mid-18th century, the clavichord was the most important instrument for solo keyboard music in the German-language world. In his Versuch über die wahre Art das Clavier zu spielen (1753), Carl Philipp Emanuel Bach preferred it above the harpsichord, which was regarded as suitable for starcke Musick (when playing with other instruments), and the fortepiano, which was still in development.

The following program gives a cross-section of such 18th century clavichord pieces:

Johann Sebastian Bach (1685 – 1750)
- Partita in B-flat major, BWV 825 (Published in Leipzig, 1726)
• Praeludium
• Allemande
• Corrente
• Sarabande
• Menuet I & II
• Giga

Georg Friedrich Händel (1685 – 1759)
Fuga I in G minor (from a group of six fugues)

Carl Philipp Emanuel Bach (1714 -1788)
Sonata in G major, Wotq. 65/12, Helm 23, composed in Berlin, 1740

Wilhelm Friedemann Bach (1710 -1784):
- Fugue nr. 6 in E minor (from “8 Fugues”, Falck 31, Berlin, 1778)
- Two Polonaises (Falck 12, composed probably ca. 1755/60)
• Nr. 1 in C major
• Nr. 10 in F minor
- Sonata in E-flat major (Falck 5), published 1748
(Allegro ma non troppo, Largo, Presto)
Intermission

Carl Philipp Emanuel Bach (1714 -1788)
- Fantasia I in F major, Wotquenne 59/5, Helm 279, from the fifth collection “für
Kenner und Liebhaber” (published Leipzig, 1785)
- Rondo III in B-flat major, Wotquenne 58/7,Helm 278, from the fourth collection
“für Kenner und Liebhaber” (published Leipzig, 1783)

Intermission

Johann Philipp Kirnberger (1721 - 1783)
2 Menuets in A major (From “Musikalischer Allerley von verschiedenen
Tonkünstlern”, Berlin, 1761)

Christian Carl Rolle (1725 - 1788)
“Claviersonate” in G major (from “Musikalisches Allerley”, Berlin, 1762)
• Allegro
• Largo
• Presto

Wolfgang Amadeus Mozart (1756 – 1791)
Twelve Variations on an Allegretto in B-flat major, composed in Vienna, 1786

Violin and Keyboard

Since many years Johannes Leertouwer and Menno van Delft form a violin/keyboard duo. (See their Bach CD in ‘Recording and Clips’.) They have performed a great variety of programs, such as a program with music by W.A. Mozart, C.Ph.E. Bach and G. Benda for violin and pianoforte, a program with pieces for violin and clavichord (including C.Ph.E. Bach’s Empfindungen) and many programs for violin and harpsichord (or organ). Here is one example:

Music by J.S. Bach, Veracini and Pisendel for violin and harpsichord

Johann Sebastian Bach (1685 - 1750)
Sonate nr. 1 in B minor for violin and obbligato harpsichord, BWV 1014
- Adagio
- Allegro
- Andante
- Allegro

J.S. Bach
Toccata in D major for harpsichord solo, BWV 912

Francesco Maria Veracini (1690 – 1768)
Sonata XII in D minor for violin and basso continuo, from Opera Seconda (Firenze, 1744)
- Passagallo
- Capriccio cromatico
- Adagio
- Ciaccona

Intermission

J.S. Bach
Fantasia and Fuge in A minor for harpsichord solo, BWV 904

J.S. Bach
Sonata in G major for violin and basso continuo, BWV 1021
- Adagio
- Vivace
- Largo
- Presto

Johann Georg Pisendel (1687-1755)
Sonata a Violino senza Basso in A minor
- Grave
- Allegro
- Giga con variatione

J.S. Bach
Sonate nr. 2 in A major for violin and obbligato harpsichord, BWV 1015
- Adagio
- Allegro
- Andante
- Allegro

Das Zimmermannsche Caffee

DAS ZIMMERMANNSCHE CAFFEE was founded in 1992 by Menno van Delft. This ensemble borrows its name from the Coffee House of Gottfried Zimmermann in Leipzig, where the Collegium Musicum gave its weekly concerts. This ensemble was founded in the first couple of years of the eighteenth century by Georg Philipp Telemann. Johann Sebastian Bach became the leader of this group of students and professional musicians in the 1730s.
Virtuosi visiting Leipzig could be heard here and the performances must have been offering a colorful mix of all kinds of instrumental and vocal music.
"Das Zimmermannsche Caffee" performed the Netwerk for Early Music and on Dutch television with programs including harpsichord concertos of Johann Gottfried Müthel (Dutch première) and members of the Bach family.
Presently Das Zimmermannsche Caffee prepares a new program with concerti for two harpsichords, strings, basso continuo and horns by Carl Philipp Emanuel Bach and Wilhelm Friedemann Bach.Guillermo Brachetta, who prepared the score of the Wilhelm Friedemann concerto from the original manuscript, will participate as second harpsichordist.

Clavichord Duo Der Prallende Doppelschlag
Siebe Henstra & Menno van Delft, clavichord

Carl Philipp Emanuel Bach (1714 – 1788)
“4. Kleine Duetten für 2. Claviere”, Wotq 115, Helm 610-13, probably after 1767
1. Allegro
2. Poco adagio
3. Poco adagio
4. Allegro

Johann Christian Bach (1735 – 1782)
Sonata in G major for two keyboards, T 340/5, nr.1 from Opus 15, (1778)
o Allegro
o Tempo di Menuetto

Luigi Boccherini (1743 – 1805)
Quartetto II in G minor, arranged for two keyboards, Opus 26, G. 76 (1778)
o Larghetto
o Minuetto

Padre Antonio Soler (1729 – 1783)
Concierto VI in D major “de dos Organos Obligados”
o Allegro/Andante/Allegro/Andante
o Minué

Intermission

Johann Gottfried Müthel (1728 – 1788)
Duetto for two “2 Claviere, 2 Flügel oder 2 Fortepiano” (published in Riga, 1771)
o Allegro moderato, e cantabile
o Adagio mesto a sostenuto, con affetto
o Allegretto

Harpsichord Duo La Bassa Fiamenga

Stefano Demicheli (Turin) and Menno van Delft (Amsterdam) first met during a production of Handel’s Agrippina in the Théâtre Royal de la Monnaie in Brussels and the Théâtre des Champs-Élysées in Paris while working together as musical assistants to René Jacobs. Their wish to continue the collaboration and to explore and expand the rich possibilities of the two-keyboard repertoire led to the formation of a duo. Mixing, exchanging and combining different mentalities, traditions and humours is an important source of inspiration of this Italian – Dutch early keyboard duo.
The name La Bassa Fiamenga is borrowed from the title of a capriccio by Girolamo Frescobaldi. This capriccio is based on a Flemish melody that Frescobaldi probably heard during a visit to the Low Countries. Thus the name illustrates the creative impulse of sharing cultures and accompanies La Bassa Fiamenga on its travels to unknown territories.

A program offered by La Bassa Fiamenga includes Balli d’arpicordo by Antonio Valente, arrangements of vocal and instrumental music by Orlando di Lasso, Adriaan Willaert and Giovanni Gabrieli (Battaglia), improvised variations on La Bassa Fiamenga, basso continuo duets by Bernardo Pasquini, a Quartetto in an original arrangement for two keyboards by Luigi Boccherini and works by Johann Sebastian Bach including the Concerto in C major BWV 1061.

Stefano Demicheli, harpsichordist and organist, was born in Turin in 1975. He studied with Ottavio Dantone, Lars Ulrik Mortensen and Emilia Fadini, graduating in organ, organ music composition and in harpsichord. He regularly performs with some of the most prestigious European period instruments ensembles, among them Accademia Bizantina (Ottavio Dantone), Il Giardino Armonico (Giovanni Antonini), Freiburger Barockorchester (Gottfried von der Goltz), Ensemble “Zefiro” (Alfredo Bernardini), Concerto Köln, and plays regularly with many well know soloists. Demicheli has played in important European Festivals, theatres and concert halls throughout the world (in 2000 he performed as a soloist at Teatro La Scala in Milano) and recorded for many companies and the principal European national radio and television networks. He teaches at the International Course of Early Music in Urbino and at the Conservatorio in Lugano. In 2003 he was assistant to René Jacobs for operas productions in Berlin, Brussels, Paris.

Jan van Ruusbroec Ensemble
Hieke Meppelink, soprano
Lester Lardenoye, alto
Marcel Beekman, tenor
Robert Getchell, tenor
Bas Ramselaar, bas
Menno van Delft, direction and harpsichord

The Jan van Ruusbroec Ensemble (named after the “Doctor Ecstaticus”, the miraculous mystic from the 14th century, author of “Die Chierheit der geesteleker brulocht”) started in 1995, when in “Ons’ Lieve Heer op Solder” (“Our Lord on the Attic” a 17th century clandestine Catholic Church in Amsterdam) the five-part mass of William Byrd was being performed.
In 1999 the ensemble was guest at the Holland Festival Oude Muziek Utrecht. In “Ottone” psalms of J.P. Sweelinck and a madrigal of Peter Philips were alternated with solo pieces for harpsichord. The concert was favorably received in the press.

Program
Vocal pieces by
Thomas Morley (“I love, alas, I love thee”, “My bonny lass she smileth”),
William Byrd (“Lullaby, my sweet little baby”, “Farewell false love”),
Michael Cavendish (“Wandering in this place”),
John Farmer (“Fair Phyllis I saw”),
John Wilbye (“O what shall I do”),
Orlando Gibbons (“What is our life?”, “The silver swan”, “Ah, dear heart”)
Thomas Tomkins (“When David heard that Absalom was slain”)
keyboard pieces by Peter Philips (Amarilli di Julio Romano, Dolorosa Pavan & Galliard)
Jan Pieterszoon Sweelinck (Pavana Philippi, Fantasia Chromatica)
Dr. John Bull (Dutch Dance, Coranto Alarm, Pavan & Galliard in the SecondTone, The King's Hunt)
William Byrd (Ut re mi fa sol la)

Il Complesso delle Corde

Lidewij van der Voort – violin
Thomas Pitt – violoncino
Fred Jacobs – theorbo
Menno van Delft – organ/harpsichord

D. Castello from: Libro Primo (Venezia 1621) (early 17th century) - Sonata quart e sesta a due

G.M. Cesare from: Musicali Melodie (München 1621)
(c1590 – 1667) - La Hieranyma a uno
• La Augustina a due

J.H. Kapsberger Passacaglia for theorbo/organ (Roma 1640)
(c1580 – 1651)

G. Frescobaldi from: Il primo libro delle canzoni (Roma 1628)
(1583 – 1643) - canzona 3 e 6 a due
from: Libro I , Toccata VII organ solo (Roma 1615)
from: Libro II, Canzona prima organ solo (Roma 1624)

B. Marini from: Affetti musicali (Venezia 1617)
(c1587 – 1663) - La Coatarte, gagliarda a due
• La Hiacinta, canzona a due

M. Uccellini from: Sonate Correnti (Venezia 1645)
(c1603 – 1680) nos 9/11/12

INTERVAL

G.B. Fontana Sonata Seconda, violino solo (Venezia 1641) ( ? – c1630)

A. Falconieri from : Primo Libro (Napoli 1650)
(1585 – 1656) La Palera a due

G. Picchi from : Canzoni (Venezia 1625)
(fl 1600 – 1625) - Canzon terza a due
• Sonata sesta a due

G.B. Riccio from: Il terzo libro (Venezia 1620)
(fl 1609 – 1621) - La Fineta, Canzon a doi
- La Sauoldi, Canzon
- La Pichi, Canzon in Ecco con il Tremolo