Louise Drewett (b 1989)
200 PIECES Pizzica (world premiere)

Bianca Beng harp

Igor Stravinsky (1882-1971)
Three Songs from William Shakespeare

Musick to heare
Full fadom five
When Dasies pied

Cassandra Wright soprano
Sung Won Cho flute
Elena Sale clarinet
Dorota Kolinek viola

Gary Carpenter (b 1951)
200 PIECES The Benefit of Hindsight (world premiere)

Bradley Johnson guitar

Grace-Evangeline Mason (b 1994)
Kite Song

Helen Lacey soprano
Lucia Porcedda clarinet
Abigail Lorimier

Igor Stravinsky

Mina Middleton flute
Maria Gomes clarinet
Mared Pugh-Evans harp

All performers at this event are conforming to our safety requirements of being at least two metres apart.

Louise Drewett is a London-based composer, performer and teacher.

Louise writes music for a variety of contexts. She co-directs Sing Healthy Choirs, who run community choirs in Berkshire, and writes and arranges many pieces for them. Since 2012 she has collaborated with theatre company Arbonauts, most recently writing for productions at Inside Out Dorset and Latitude festivals. She also collaborates with poet Clare Shaw, writing songs for solo voices and for choir. Louise’s work has been performed at Westminster Abbey, St George’s Chapel, Wigmore Hall, and many other venues across the UK and internationally.

Louise is currently studying towards a PhD in composition with Philip Cashian on a scholarship at the Royal Academy of Music, where she previously gained an MMus with Distinction, supported by the Countess of Munster Musical Trust and a Vaughan Williams Bursary from the RVW Trust, and was awarded the 2018 and 2019 Charles Lucas Composition Prizes.

She has studied composition with Giles Swayne, with Michael Finnissy as a Britten-Pears Young Artist at Aldeburgh Music, and on the Advanced Composition course at Dartington International Summer School.

Musick to heare

Musick to heare, why hear’st thou musick sadly,
Sweets with sweets warre not, joy delights in joy:
Why lov’st thou that which thou receav’st not gladly
Or else receav’st with pleasure thine annoy?
If the true concord of well tuned sounds,
By Unions married do ffend thine eare,
They do but sweetly chide the who confounds
In singlenesse the part that thou should’st beare:
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering;
Resembling sier and child, and happy mother,
Who all in one, one pleasing note do sing:
Whose speechless song being many seeming one,
Sings this for the thou single wilt prove none.

Full fadom five

Full fadom five thy Father lies,
Of his bones are Corrall made:
Those are pearles that were his eies,
Nothing of him that doth fade,
But doth suffer a Seachange
Into something rich and strange:
Sea-Nimphes hourly ring his knell.
Ding dong, ding dong
Hearke now I heare them;
Ding dong bell.

When Dasies pied

When Dasies pied, and Violets blew
And Cukowbuds of yellow hew:
And Ladiesmockes all silver white,
Do paint the Medowes with delight.
The Cuckow then on everie tree
Mockes married men; for thus sings he,
Cuckow, Cuckow, Cuckow:
O word of feare,
Unpleasing to a married eare.

When Shepheards pipe on Oaten strowes,
And merry Larkes are ploughmens clockes:
When Turtles tread, and Rooks and Dawes,
And Maidens bleach their summer smockes:
The Cuckow then on everie tree
Mockes married men; for thus sings he,
Cuckow, Cuckow, Cuckow:
O word of feare,
Unpleasing to a married eare.