Coming back to the UK after a residency at the Brighton Early Music Festival, the​ Nocturnalia Ensemble will present a vivid performance of Handel’s masterpieces alongside​ works by his contemporaries. Handel’s violin sonatas will serve as a bridge between the​ three worlds where he lived and worked: his native Saxony, where he formed a lifelong​ friendship with Telemann; Italy, where he met Arcangelo Corelli; and England, where he​ ultimately settled.

The concert will also recreate the atmosphere of a soirée at Handel’s house on 25 Brook​ Street, London. Nocturnalia will feature a rare piece by Elisabetta Gambarini, a fascinating​ figure in the 18th-century English music scene, who first worked as a singer with Handel​ before pursuing a career as a composer. Alongside Gambarini’s work, we’ll explore the​ microcosm of Francesco Geminiani—a virtuoso violinist who collaborated with Handel in​ the service of George I. Geminiani’s compositions offer a stark contrast to the​ Roman-Corellian classicism of the time, with their constant shifts, intricate bizzarrie,​ and perplexing harmonies and rhythms.

For Nocturnalia, following the principles of 18th-century theorists, music is a dialogue—a​ way of connecting through friendship, shared perspectives, and emotions. Even when​ coming from different paths, we express it in a single, unified experience. We take great​ care in crafting this sensorial journey, from the programme itself to the smallest details of​ instrumentation and the colours of sound. Each sonata tells a different story, a tale of​ poetry, without words, but plenty of emotion and dance.

Nocturnalia is not the result of haste or a casual gig, but rather a reflection on the art of​ performing and living through early music. It is a laboratory of sonic ideas. We aim to offer​ a moving and transformative experience to our audience, creating moments of beauty that​ can be cherished long after the concert. For us, as performers, and for the audience alike.

• • •

G. F. Händel, Sonata in F major for Violin and b.c., op. 1, Nr. 12, from Solos for a German Flute​ a Hoboy or Violin with a Thorough Bass for the Harpsichord or Bass Violin Compos'd by Mr.​ Handel, London, 1732.
I. Adagio II. Allegro III. Largo IV. Allegro (13’)

Francesco Geminiani, Prelude and Vivement, from Pièces de clavecin, Tirées des différents
Ouvrages de Mr. F. Geminiani adaptées par luy même à cet instrument, London, 1743. (8’)

Francesco Geminiani, Cello Sonata, H.104, from Sonates pour le Violoncelle et Basse Continue​ dans lesquelles il a fait une étude particuliere pour l'utilité de ceux qui accompagnent, Op.5,​ No.2, The Hague, 1746. (9’)
I. Andante II. Presto III. Adagio IV. Allegro

G. F. Händel, Violin sonata in D major, HWV 371 (autograph ms)
I. Afetuoso II. Allegro III. Larghetto IV. Allegro (13’)

G. F. Händel, Sonata in G minor for Violin & B.c Op.1, No.6, HWV, 364a (autograph ms,​ Fitzwilliam Museum (Mu. ms. 261))
I. Larghetto II. Allegro III. Adagio IV. Allegro (7’)

Elisabetta Gambarini, Andantino,​ “Se dir non lice al mio tesoro”, from Lessons for the​ Harpsichord intermixed with Italian and English Songs, op. 2, London, c. 1748. (4’)
G. P. Telemann, Trio Sonata for Violin, Cello and b.c in G Major, TWV 42:G7
I. Vivace II. Adagio III. Allegro 10’