‘A crucial aspect of this programme is that it maintains a quality of intimacy, something I adore in music, exploring the sonorities of the few judiciously added instruments’
Ahead of our new season which opens with La Vendetta: Nardus Williams Sings Strozzi we catch up with our soloist Nardus Williams to find out more about the programme.
How did the idea of this programme come about?
At the time when I was asked about putting a programme together for this concert, I was preparing for a recital for voice and theorbo featuring songs by Barbara Strozzi, and Giulio Caccini. I was very keen to explore more music from their circle, and that led to the idea of programming works by Strozzi, and Francesca Caccini.
A crucial aspect of this programme is that it maintains a quality of intimacy, something I adore in music, exploring the sonorities of the few judiciously added instruments.
Was it important to have all female composers?
When originally thinking about this concert, I didn’t initially intend to create an ‘all women’ programme, but at a certain point it became clear that this was a fascinating avenue to explore. Above all, this programme is simply about great music. The programme features some of the most exquisite and dramatic works from the period.
What are you looking forward to?
Something I’m very much looking forward to is hearing one of my favourite Trio Sonatas (Jacquet de la Guerre’s Trio Sonata No. 2) being performed.
Are there any stand out moments in this programme?
One spot that comes to mind is a moment in Hor che Apollo by Strozzi. Around halfway through the song, a period of beautiful lyrical music winds down, and then out of nowhere a completely unexpected colour arrives with the emergence of a bass line that for some reason puts me in mind of a witch casting a spell! It’s a wonderfully atavistic moment, in an otherwise deeply refined song.
Describe the programme in 3 words.
Intimate, intricate, passionate.