Sounds Historical (Early Music Group)

HEIDI FARDELL (recorder/flute)

ALISON KINDER (viol)

LYNDA SAYCE (lute/theorbo)

MARY TYERS (recorder/flute)

 

Hildegard von Bingen (c.1170)

Cum processit factura

Alfonso X of Castile / courtiers of Alfonso (1250-84)

Cantigas de Santa Maria
Virga de Jesse, Santa Maria a strela do dia

G. de Machaut (1300-77) 

Ma fin est mon commencement

Anon

Saltarello (1450)

H. Isaac (1450)

La lo hö hö

A. Schlick (c.1500)

Philips Zwolffpot auss not hilff mir

J. Dalza (1508) 

Calata alla Spagnola

 

P. Attaignant (1533) 

Mirelaridon

Anon / T. Susato (1550)

Shepherd’s Dance

D. Castello (1611) 

Libro Secondo: Canzona decima

Division Violin / Viol / Flute (c.1650-60)

Paul’s Steeple

Michel de la Barre duo (c.1700) 

4ème suite d minor
Prelude

 

G.P. Telemann (c.1730-40) T

rio Sonata in F major TWV42:F7
Affetuoso, Allegro

J. Haydn (1794)  

London Trio number 3 in G major
Spirituoso

 

Heidi Fardell

Heidi is a freelance recorder player and baroque flautist performing with various early and contemporary ensembles across the UK including Fiori Musicali, The City Musick and Sounds Historical and recording several times for BBC Radio 3 and 4. Heidi studied recorders with Lou Bradbury and Dan Laurin during her Bmus and Mmus degrees at Goldsmiths University and Baroque flute with Annanbel Knight, Katy Bircher and Lisa Beznosiuk during her time at Birmingham Conservatoire.
Alongside her performance work, Heidi is also a respected musician in education. From 2006 -2019 she held the post of recorder tutor at Trinity Laban Conservatoire of Music and Dance Junior department and has developed bespoke musical workshops for clients across the UK including Kensington Palace, the Royal Festival Hall, Handel House Museum, Tate Britain and the National Gallery. For over 20 years, Heidi has taught in a wide variety of settings across London and Oxfordshire and is the vice chair of the European Recorder Teachers Association UK and a qualified adjudicator for the British and International Federation of Festivals.

Alison Kinder

Alison read music at Oxford and was then given a scholarship by Trinity College of Music where she studied viol with Alison Crum, being awarded the college’s Silver Medal for Early Music Studies. She is a founder member of Chelys consort of viols where she enjoys researching, performing and recording programmes covering all aspects of consort music. She has a particular interest in 'Renaissance' viols (early viols made with no soundpost) with The Linarol Consort, who play on copies of the earliest surviving viol made by Francesco Linarol. Alison has a great love of working with singers, and the affinity between the sound of the viol and the voice. One of her favourite places to be is as the gamba player with Musica Secreta, where a recent highlight has been the newly discovered complete Lamentations of Jeremiah by Antoine Brumel. A keen teacher of both children and adults, Alison is a tutor on a number of Early Music courses and she regularly leads workshops for the various Early Music Fora. She is co-director of Rondo Viol Academy, which runs weekend courses for players of all standards from Elementary to Advanced.

Lynda Sayce

One of Britain’s leading lutenists with over 100 recordings to her name, Lynda Sayce read Music at St Hugh’s College, Oxford, then studied lute with Jakob Lindberg at the Royal College of Music. She performs regularly as soloist and continuo player with leading period instrument ensembles worldwide, and is principal lutenist with La Serenissima, The King’s Consort and Ex Cathedra. She directs the lute ensemble Chordophony, whose repertory and instrumentarium are based entirely on her research. Lynda has performed with many leading modern instrument orchestras and opera companies, and was chosen by Sir Simon Rattle to play lute continuo for the Berlin Philharmonic Orchestra’s recent epic staging of Bach’s St Matthew Passion, performed in Europe and the US. Her discography ranges from some of the earliest surviving lute music to the jazz theorbo part in Harvey Brough’s ‘Requiem in Blue’.
Lynda holds a Ph.D for her work on the history of the theorbo, which is being prepared for publication, and has written for the New Grove Dictionary of Music, Early Music, and the art journal Apollo. She teaches lute and continuo at Birmingham University, and for several summer schools.

Mary Tyers

Mary is well-established in the north of England as a teacher and performer on both period and modern flutes and recorders. When performing Mary is frequently to be found in the woodwind section of a period-instrument orchestra. She also enjoys collaborating with colleagues to present unusual, informative and entertaining chamber recitals. Current collaborations include Sounds Historical; Eden Baroque; The Bishop’s Consort and the folk/early music mash-up Hardy/Tyers. In addition to her performing Mary is in demand as a teacher, conductor and workshop leader, with a particular interest and passion for working with enthusiastic adult amateur musicians. She has a thriving teaching practice stretching across the north of England (and beyond, courtesy of Zoom!). She has taught at Durham and Newcastle Universities, tutors on Early Music Summer Schools, leads multi-instrumental workshops for Early Music Fora, and regularly leads and conducts recorder consort courses and playing days throughout the UK.