The Strad: 27 February 2025: Ada Witczyk: "Old meets new: why I commission new pieces for baroque instruments"

So honoured to be mentioned in The Strad in Ada’s excellent article about composing new music for Baroque instruments. Huge thanks for including me!

 

 

 

"Susie Vaughan, first female winner of the Růžičková Composition Competition, composed a piece that not only included baroque violin, flute and harpsichord but also viola da gamba. This combination of instruments, inspired by Telemann’s Paris Quartets, lends itself to the splintered sound world Vaughan was searching for in her piece La Conversation. Ornamentation and harmonic language, plus the gruff chords so idiomatic for 7-string viola da gamba, combine to create a circus-like atmosphere."


 

Link to The Strad article

⬆️ click here for link to: Agnus Dei to be performed by Aisling Kenny, Soprano, and Yonit Kosovske, Piano, at the University of California, Irvine

At the Concert "Yearning" on Saturday 6th April 2024 at 7:30pm. A collaboration between Finding a Voice and the Women in Global Music Network

Delighted to share that Aisling Kenny, Soprano, and Yonit Kosovske, Piano, will be performing my Agnus Dei from Sounding the PAges: Settings of poems by Mary Queen of Scots and musical reflections on artefacts relating to her life. 

'This concert explores the trope of “yearning” in music by women composers through the ages: from Hildegard von Bingen (1098–1179) and Barbara Strozzi (1619–1677), to Clara Schumann (1819–1896), Amy Beach (1867–1944), Liza Lehmann (1862–1918), Florence Price (1887–1953), Ina Boyle (1889–1967), and Rhona Clarke (b.1958), Susie Vaughan (b.1965), and Fiona Linnane (b.1978).'

This setting of the Agnus Dei is part of a collection of pieces called Sounding the PAges, which celebrates the life of Mary Queen of Scots and tells her remarkable story. I was inspired to write this collection following the 2021-22 British Library Exhibition: Elizabeth and Mary, Royal Cousins, Rival Queens. The collection consists of settings of Mary’s own poetry – including her final sonnet Que Suis-Je Hélas? written on the eve of her execution at Fotheringhay Castle on 8th February 1587 – and musical reflections on artefacts relating to key moments in her life. This setting of the Agnus Dei is a musical reflection on the small wax Agnus Dei that Mary wore at her execution. Susan Doran, Editor of the exhibition catalogue writes:

“She entered the hall, dressed in black with a white veil, carrying her ivory crucifix and Latin prayer book, with an Agnus Dei [a small wax tablet stamped with the image of the Lamb of God notionally consecrated by the pope] around her neck and a rosary on her girdle.”

[British Library Catalogue, Ed. Susan Doran, Elizabeth and Mary, Royal Cousins, Rival Queens, p.190 & 230].

Antonia Fraser, in her biography of Mary Queen of Scots, further documents:

“According to their usual practice, the executioners stretched forth their hands for the queen’s ornaments, which were their perquisites. When they touched the long golden rosary, Jane Kennedy protested, and the queen herself intervened and said that Bull would be compensated with money in its place, and the same promise had to be made regarding the Agnus Dei."
[Antonia Fraser, Mary Queen of Scots, p. 669-670]

 Sadly, the Agnus Dei did not survive. Her clothing and most of her objects of devotion were burned to prevent them becoming holy relics and thus making Mary a Catholic martyr. However, the rosary was saved and given to Mary’s friend, Anne Dacres, wife of Philip, 13th Earl of Arundel, by Jane Kennedy, Mary’s favourite bed-chamber woman. It had been in the possession of the Earl of Arundel’s descendants, the Dukes of Norfolk, ever since, until on 21st May 2021, these priceless gold rosary beads were stolen during a heist from the 18th Duke of Norfolk’s collection in Arundel Castle.

 After her return to Scotland from France in August 1561, following the death of her young husband Francis II, Mary continued to celebrate the Mass in private. “At first this presented a problem, since the chapel organs had been destroyed at the time of the Reformation as being profane instruments, … however, by April 1565 she had a band of musicians, … trumpets, drum, … fife, bagpipe, … tabor.” I’ve referred to these instruments in the modal scales, harmonies and ornamentation of the piece.
[Antonia Fraser, Mary Queen of Scots, p.224-225]

 

 

 

Link to uc Irvine concert details

'La conversation' - Spotlight on Planet Hugill!

Robert Hugill from Planet Hugill shares 'La Conversation' as his Spotlight today

Delighted and honoured to see this morning that Robert Hugill, whose Planet Hugill reviews I have been reading and following for many years, kindly shared ‘La Conversation’ as his Spotlight today 20th July 2023

'La Conversation' - link to Planet Hugill Spotlight

FILM PREMIERE OF 'LA CONVERSATION ENCHANTÉE ET GALANTE' RELEASED ON YOUTUBE!

⬅️ Link 🔂 to YouTube

I’m thrilled to finally share the film premiere of my 2022 Růžičková Composition Competition piece, La Conversation Enchantée et Galante - and I have a long list of heartfelt THANK YOUs!

First and foremost, to the amazing Ada Witczyk for creating the wonderful Růžičková Composition Competition and tirelessly supporting, encouraging and inspiring contemporary composers to write new music for period instruments, as well as giving stunning performances of the pieces! To the awesome Simon Helbling - and all his fantastic film crew listed below - for his inspiration and magical direction, which perfectly captures the spirit of enchantment in La Conversation. To the fabulous musicians of Florilegium - Ashley Solomon - Baroque Flute, Reiko Ichise - Viola da Gamba, Steven Devine - Harpsichord (audio), Dominika Maszczynska - Harpsichord (on screen) for their exceptionally beautiful playing, and to Dominika for her kindness in demystifying Harpsichord registrations for me! To the excellent Nick Hardisty for his Artistic Direction & Producing, and making the beautiful recording. To the brilliant Brian Clark at Prima la musica! for expertly guiding me through the publishing process and producing such beautifully printed copies of the scores and parts. 

I’ve loved every minute of being part of this large creative Růžičková family - it’s been the most wonderful year! THANK YOU! ❤️🥰

MUSICIANS:
Ada Witczyk - Baroque Violin 
Ashley Solomon - Baroque Flute 
Reiko Ichise - Viola da Gamba
Steven Devine - Harpsichord (audio) - @steven
Dominika Maszczynska - Harpsichord (on screen) - @dominika

FILM CREW:
Simon Helbling - Director
Nick Hardisty - AD / Producer / Sound Engineer
Hamid Ahmadi - Director of Photography
Alessandro Di Rosa - 1st AC Piero Cioffi - Gaffer / Camera Operator 
Markela Kontaratou - Spark 
Taina Vez - Hair & Makeup

🔂 Link to YouTube

TRAILERS FOR film premiere of ‘La Conversation' ON 11th July at 7:30pm

The film premiere of ‘La Conversation Enchantée et Galante’ will be released on 11th July at 7:30pm

I’m so excited to share with you that the film premiere of ‘La Conversation Enchantée et Galante’ will be released on 11th July at 7:30pm. Composed as my submission to the 2022 Růžičková Composition Competition, La Conversation is for the same Baroque Ensemble instrumentation as Telemann’s Paris Quartets and takes inspiration from circus arts and aesthetics. 

Huge thanks to the amazing Ada Witczyk for playing Baroque Violin and creating this wonderful composing opportunity, to Simon Helbling for his inspired direction, and to the musicians of Florilegium for their very beautiful playing. 

Baroque Violin - Ada Witczyk
Baroque Flute - Ashley Solomon
Viola da Gamba - Reiko Ichise
Harpsichord (audio) - Steven Devine
Harpsichord (on screen) - Dominika Maszczynska

View Trailers on my Insta Page

MiRNArte

‘The first international virtual exhibition on the island of Venice: “Viral Human. Public Art and Metaverse” promoted by MiRNArte and Creative Motion.’

I’m thrilled and honoured to announce that I have been selected for:

‘The first international virtual exhibition on the island of Venice: “Viral Human. Public Art and Metaverse” promoted by MiRNArte and Creative Motion.’

Huge thanks to MiRNArte and Creative Motion for including me in this wonderfully innovative project and I’m very much looking forward to sharing the music selected from 17th July 2023.

 

 

Please head over to the MiRNArte website:
https://mirnarte.com/en/
for more information about this wonderfully innovative project:

‘The event will be open from 17 July to 2 November via the MiRNArte mobile application, which can be downloaded for free from 25 June on the Apple and Google Play stores. The exhibition catalog will be available both in paper and digital form from the month of July. Further updates coming soon.’

‘Viral Human is a multimedia installation virtually spread on the island of Venice, that travels in parallel between two historical eras, the Plague and Covid. The visit itinerary unfolds like a treasure hunt through an app that, like a time capsule, guides the visitor in an immersive and interactive experience. The project is sponsored by the Ministry of Culture, the Academy of Fine Arts of Venice, the Ugo and Olga Levi Foundation and prestigious collaborations such as the well-known theatre director Matteo Belli, the Department of Ancient Music of the Benedetto Marcello Conservatory, the Venice State Archives, the Venice Civic Museums Foundation, the Scuola Grande di San Rocco and the Pantakin Theatre Company – comedy circus theatre events.’

MiRNArte Website

La Conversation Enchantée et Galante

'La Conversation Enchantée et Galante', one of the three winning compositions of the 2022 Růžičková Composition Competition, is published by Prima la musica!

I’m thrilled to share that the score and parts for my piece La Conversation Enchantée et Galante are now available for purchase at Prima la musica! Huge thanks to Brian Clark at Prima la musica! for all his hard work in publishing these beautifully produced covers and scores!

La Conversation was my submission to the 2022 Růžičková Composition Competition and was one of the three winning pieces and awarded the Viktor Kalabis Prize and the Prima la musica! Prize. I also want to give huge thanks to competition founder and Baroque Violinist Ada Witczyk for everything she does in organising and playing for this wonderful competition. Congratulations too to fellow colleagues Isidro Albarreal Delgado and Erik Valdemar Sköld, whose pieces are also published.

La Conversation was first inspired by Ada’s brief to “explore Telemann’s Paris Quartets and celebrate the art of conversation between instruments”, so is scored for Baroque Flute, Baroque Violin, Gamba and Harpsichord.

The subtitle of the piece is  Le Chardonneret est le Fantôme dans la Machine, which was inspired by the painting of a Goldfinch, sitting on a branch, on the soundboard of the 1769 Pascal Taskin Harpsichord in the Raymond Russell Collection in St Cecilia’s Hall, Edinburgh. The painted Goldfinch comes to life and flies into the music…! 

Head over to Prima la musica!
CLICK HERE

Ada Witczyk and the musicians of florilegium recording 'la conversation enchantée et Galante'

So exciting to hear the wonderful playing of Ada Witczyk and the musicians of Florilegium in the recording session for our #ruzickovacompetition compositions.

First you’ll hear a clip of El Gorrion (The Sparrow) by Isidro Albarreal @isidroalbarreal and then a clip of my piece La Conversation Enchantée et Galante: Le Chardonneret (Goldfinch) est le Fantôme dans la Machine’. We both chose birds as the inspiration for our pieces!

I can’t wait for the next stage of the project, which is the filming of our compositions by Director Simon Helbling 🎥

click here to watch a clip of the recording session