The Royall Consort

We are guided through the chamber intimacy of the seventeenth century, a period when instrumental music began to find its own distinct, expressive voice. You will hear two of William Lawes’ Royal Consorts, which serve as the structural pillars for the evening. These works are known for their intricate textures and the interplay between the viols, reflecting the private sophistication of the Caroline court. Between these, the programme travels across Europe. You will encounter the rhythmic energy of Samuel Scheidt’s dances and the striking technical demands of Dario Castello’s ‘modern’ style. Listen for the specific contrasts in the programme: the structured elegance of English consort music set against the more impulsive, improvisatory feel of the Italian sonatas and Kapsberger’s theorbo writing. The performance also features pieces by John Jenkins and Thomas Baltzar, which demonstrate how regional styles in Germany and England began to merge through virtuosic violin and viol writing. It is a sequence that highlights both the intellectual rigour and the emotional directness of the early Baroque.

Laurence Cummings leads the Academy of Ancient Music for this performance. Based in Cambridge and London, this ensemble is celebrated for its commitment to historically informed performance, using period instruments to recreate the specific sound worlds of the Baroque and Classical eras. Cummings is highly regarded for his ability to direct from the keyboard with a light touch and historical sensitivity. You can expect a refined ensemble sound where individual instrumental colours are brought to the fore, typical of their long-standing reputation for clarity and scholarly exploration of early repertoire.

This chamber concert takes place at Milton Court Concert Hall in London. The venue is purpose-built for acoustic clarity, making it an excellent setting for the nuanced textures of seventeenth-century string and theorbo music. The programme consists of several shorter works rather than long symphonic movements, which makes it particularly accessible for those new to early music or anyone seeking a varied listening experience. There is no dress code for this event, and you should arrive at the Barbican-linked venue in time for the scheduled start date in April 2027.