A fusion of the old and the new, the traditional and the exotic, the beautiful and the grotesque in this performance incorporating early music, contemporary improvisation and baroque dance. Performed by leading experts in their fields, this concert brings together a range of composers from the baroque and modern eras including John Cage and J. S. Bach alongside world music and free improvisation.
Ibrahim Aziz – viola da gamba
Sara Stowe- voice
Barbara Segal – dance
Ibrahim Aziz has collaborated with composers, classical and jazz musicians, artists, poets, dancers and actors in his performances on the viola da gamba and is noted particularly for his versatility and expressive playing. A member of several period ensembles including The Rose Consort of Viols, Chelys, Follia and The Stanesby Players, Ibrahim has performed in many prestigious venues around the world and recorded for several labels including Signum, Deux Elles and BIS. Forthcoming projects will take him to Austria, Switzerland, Holland and the Far East.
Sara Stowe follows parallel careers as soprano and harpsichordist performing as both soloist and as a member of various music ensembles. Sara’s broad performing experience covers a huge range of music from 12th century songs of the Trouveres to the challenges of contemporary music.
With international tours, festivals and recordings, her performances have included Purcell with the Academy of Ancient Music, the solo harpsichord pieces of Gyorgy Ligeti in solo recital, religious songs of Hildegard of Bingen with Sinfonye, Stockhausen’s Stimmung, King Henry VIII’s complete works with the ensemble Sirinu and Luciano Berio’s Folksongs with the composer.
Barbara Segal is a specialist in Baroque Dance, the fashionable dance of Europe from about 1650 to 1750 and what is sometimes considered the forerunner of classical ballet. It originated at the court of Louis XIV and became known as the French noble style, a highly stylised form of baroque dance. This elegant, graceful form of baroque dance rapidly spread throughout Europe.
Not content solely with baroque dance, Barbara has extended her studies and her repertoire to cover the known choreographies in European sources from the fifteenth to the nineteenth centuries. These range from the court dances of Italian Renaissance dance masters such as Domenico, Caroso and Negri to Regency dances, including dances of Jane Austen’s time, and dances of the Victorians.