Programme includes classical trios for violin, violin and double bass by Michael Haydn and Vanhal, duo by Sperger for viola and double bass, and duo for violin and viola by Pleyel. .................................................................................................................................................. James Hewitt- violin, Xiangji Hewitt- viola, Claudia Velez, Double bass

Yiddish baroque with Simkhat Hanefesh In 1719, the young Abraham Levie from Lemgo embarked on a journey that took him from the German-speaking lands via Moravia and Austria to Italy and Elba. His travelogue, written in Amsterdam, survived in manuscript form.

Simkhat hanefesh joins Abraham Levie on his travels and presents you Jewish music from the Renaissance and Baroque, related to places he visited. We will read short excerpts from his travelogue.

We look forward to welcoming you to a program of rediscovered Jewish music from the Renaissance and Baroque.

Mozart's 'Duo for Violin and Viola in G Major' is one of two duos written to complete a set of duos which Michael Haydn could not finish. The two instruments vie with each other with brilliant concertante writing, becoming two equal partners. The first movement is almost operatic, with contrasts between lyrical exchanges and playful passagework. The second is a richly ornamented arioso, and the third is a rondo, with a recurring folk- like theme (in both instruments), and many unexpected and humorous moments. .........................................................................................................................................

'6 Inventions', by James Hewitt, is about interplay, dialogue, conflict and resolution: communication between two people during performance. It is inspired by Bach’s 2 part inventions, in which a melodic motive (‘invention’) is developed, forming a thread which leads the listener on throughout the piece. But also, it aims to inspire the ‘inventiveness’ of the performers; the score is notated in such a way as to allow considerable freedom. Much is notated without definite rhythm, which means the two players have to listen and react to each other. They sometimes play off each other with dissonances and resolutions, sometimes pass the music between each other as in a conversation, sometimes imitate or interrupt each other. Or, one has a free melody, to which the other has to fit in a counterpoint. There is constant play between leading and following, between being together and apart.