Lunchtime Recital at St. James’, Piccadilly 19.8.13

Solo Recital at St. James’, Piccadilly. Monday 19th August 2013 1.10pm

[audio:|titles=Stravinsky Elegie. Diana Mathews – viola. 19/8/13] [audio:|titles=Paul Patterson Tides of Mananan. Diana Mathews – viola. 19/8/13]
Stage set to go at St James', Piccadilly

Stage set to go at St James’, Piccadilly

The programme included World Premieres by Sadie Harrison, Blai Soler and Michael Alec Rose. Thank you so much to them for writing me these pieces. A joy to perform.

Here are Sadie Harrison’s programme notes for ‘Three Dances for Diana Nemorensis’ (2013):

Three Dances is based on the Greco-Romano tripartite representation of Diana-Selene-Hecate, known as Diana Nemorensis.  Representations of the goddess feature on several coins, one the most celebrated being a denarius minted by Publius Accoleius Lariscolus in September–December 43 B.C. It shows her three manifestations standing within a cypress grove surrounded by her typical attributes – a bow and quiver, a clasped open gown and flowers or cereal, possibly poppies or wheat. Each movement is prefaced by a quotation which highlights a characteristic interpreted within the music. The piece was written especially for Diana Mathews and is dedicated to her with admiration.
I. Diana. ‘She carries a quiver on her shoulder, and overtops all the other goddesses as she walks’. Virgil, Aeneid 1. 494 ff.

[audio:|titles=Sadie Harrison Three Dances for Diana Nemorensis i) Diana. Diana Mathews – viola. 19/8/13]

II. Hecate. ‘Hecate whose name is howled by night at the city cross-roads.’ Virgil, Aeneid 4. 609 ff.

[audio:|titles= Sadie Harrison Three Dances for Diana Nemorensis ii) Hecate. Diana Mathews – viola. 19/8/13]

III. Selene. ‘Daughter of Helios, Mene [Selene] of many turnings.’ Nonnus, Dionysiaca 44. 198 ff

[audio:|titles=Sadie Harrison Three Dances for Diana Nemorensis iii) Selene. Diana Mathews – viola. 19/8/13]

Here are Michael Alec Rose’s notes for ‘Pygmy Nubian’:

This little caprice for Diana Mathews–named Pygmy Nubian for the diminutive breed of goat which is a cross between a dwarf Nigerian and a full-sized Nubian–was inspired by two bits of etymology, one Latin and one Greek.  Everybody knows that to be capricious is to caper around like a goat (“caper” being a word for goat in Latin).  A lesser-known fact is that the word “tragedy” literally means a “he-goat-song,” which would have been sung as a lament to the feisty critter sacrificed to the god Dionysus after having been won as first prize in the Athenian drama competitions.  It pleases me unreasonably that the our musical genres of “caprice” and “tragedy” spring from precisely the same animal source.  My Pygmy Nubian butts its head against both genres, alternatively keening in lament and bounding around as if there were no tomorrow (a precisely true statement for the poor goat served up in Athens).  Diana has asked me to go on and compose a capricious friend for this lonely goat.  But my hope is that Pygmy Nubian is just the first of a whole herd of caprices for Ms. Mathews, who sings on her viola so beautifully a capella (“capella” being another Latin word for goat).

[audio:|titles=Michael Alec Rose Pygmy Nubian. Diana Mathews – viola. 19/8/13] [audio:|titles=Blai Soler de dol Diana Mathews- viola. 19/8/13]