Programmes

Below you’ll find a list of sample programmes and repertoire idea. We tailor our concerts to match the specific needs of a project, event, series or festival, often making new arrangement for the occasion.

We hope you like the selection we’ve put together, and we’d be delighted to hear from you and have a conversation about what we might create together.

This programme brings Armenian and Italian sacred repertoires into dialogue through an exploration of praise, faith, and devotion. Sacred texts and musical forms from both traditions are woven together in sets, allowing points of resonance to emerge across language, theology, and music. Our practice of self-accompaniment draws inspiration from early modern Italian models, including Francesca Caccini, Barbara Strozzi, and the concerto delle donne, as well as from Armenian traditions of sung storytelling associated with the ashugh, and from the living practice of Armenian chant itself.

Morning Light

  • Nerses Shnorhali (1102–1173) - Aravot luso

    Francesca Caccini (1587–1640) -  Maria, dolce Maria

    Armenian traditional (arr. Lucine Musaelian) - Oror

    Tarquinio Merula (1595–1665) - Canzonetta spirituale sopra alla nanna

    Orlando di Lasso (c. 1532–1594) - Susanne un jour

    Giovanni Battista Bassani (c. 1650–1716) - Susanne – divisions

    Claudio Monteverdi (1567–1643) - Crucifixus

    Grigor Narekatsi (c. 950–1007) - Havoon havoon

    Movses Khorenatsi (5th century) - Urakhatsir Srbuhi

    Barbara Strozzi (1619–1677) - In medio maris

    Komitas Vardapet (1869–1935) - Ter Voghormia

    Mesrop Mashtots (362–440) - Ankanim arrachi Qo

    Claudio Monteverdi (1567–1643) - Quam pulchra es

    Francesco Taeggio Rognoni (1570–1626) - Pulchra es amica mea

    Mesrop Mashtots (362–440) - Bazum en Qo Gtutyunq

    Komitas Vardapet (1869–1935) - Soorp Soorp

From 16th Century Venice to the rolling hills of Bingyol, Intesa explores the many simple gifts in life: the gifts of youth, travel, love, and country. The programme includes pieces by John Dowland, Giulio Caccini, and Marin Marais, as well as a selection of lively and haunting Armenian folk songs, a tribute to Charles Aznavour, and a nod to John Donne’s metaphysical poetry. Intesa celebrates the viola da gamba’s range of possibility, both as an emblem of the cultivated Renaissance and Baroque, and as a natural, guitar-like duo partner to the voice. They marry historical self-accompaniment practices with singer-songwriter-style ease to tell stories that are both exotic and familiar.

Simple Gifts

  • Luca Marenzio (1556-1599) — In un boschetto
    Francesca Caccini (1587-1640) — O vive rose

    Armenian trad. — Bingyol
    Armenian trad. — Keler Tsoler

    M. Marais (1656-1728) — L'Arabesque
    Armenian trad. — Shogher jan

    T. Hume (1569-1645) — A Maske
    M. East (c. 1580-1648) — I as well as thou

    A. Ferrabosco II (1575-1628) — So, so, leave off
    L. Musaelian (b. 1997) — The Flea

    Radiohead — Videotape
    Charles Aznavour (1924-2018) — Sa Jeunesse

    M. Marais (1656-1728) — Feste Champêtre
    Armenian trad. — Khio

    J. Dowland (1563-1626) — Time Stands Still
    Giulio Caccini (1551-1618) — Dalla porta d'oriente

Our programme presents a union between Armenian and Italian traditions, exploring the connections between sacred and secular love, both in their pain and redemption. We highlight the Armenian story of faith and women’s story of misunderstanding. These stories are told through pieces selected from both traditions, which are woven together in sets through music and narrative. Our practice of self-accompaniment is inspired by figures like Francesca Caccini, Barbara Strozzi, and the concerto delle donne, as well as the Armenian ashugh traditions of storytelling through song with the accompaniment of the kamancha.

Voices of San Lazzaro

  • Nerses Shnorhali (1102–1173) – Aravot luso
    Orlando di Lasso (1532–1594) – Susanne un jour

    Settimia Caccini (1591–1638) – Due luci ridenti
    Armenian traditional – Keler Tsoler

    Grigor Narekatsi (c. 950–1007) – Havoon havoon
    Claudio Monteverdi (1567–1643) – Si dolce è 'l tormento

    Barbara Strozzi (1619–1677) – Che si può fare
    Armenian traditional – Hov Arek
    Komitas Vardapet (1869–1935) – Soorp Soorp

    Barbara Strozzi (1619–1677) – Silentio nocivo
    Francesca Caccini (1587–c.1640) – Maria, dolce Maria

    Claudio Monteverdi (1567–1643) – Lamento della ninfa
    Tarquinio Merula (1595–1665) – Folle è ben che si crede

This programme is inspired by the sounds of Venice and the island of San Lazzaro degli Armeni, where the rich traditions of Armenian monastic life meet the romance and intrigue of Venetian culture. Since 1717, this small island has been home to the Mekhitarist monastery, a renowned center of Armenian scholarship and artistic exchange. Its monks have played a vital role in preserving and disseminating Armenian, Latin, and Italian works, including musical compositions by Nerses Shnorhali and Grigor Narekatsi. 

Fiamma d’Amore

  • Giulio Caccini (1551-1618) Dalla porta d'oriente

    Orlando di Lasso (1532-1594) Susanne un jour

    Willaert/Bonizzi Jouissance vous donneray

    Adrian Willaert (c. 1490–1562) O dolce vita mia

    Grigor Narekatsi (c. 950-1007) Havoon havoon

    C. Monteverdi (1567-1643) Si dolce è'l tormento

    Nerses Shnorhali (1102-1173) Aravot luso

    Di Rore/Rognoni Ancor che col partire

    Francesca Caccini (1587-1640) Maria, dolce Maria

    Barbara Strozzi (1619-1677) Che si puó fare

    Armenian trad. Keler Tsoler

    Luca Marenzio (1556-1599) In un boschetto

    Francesca Caccini (1587-1640) O vive rose

In the heart of winter’s darkness, this Christmas-themed programme seeks out light and hope through music. Folk songs from various traditions invite us to embrace the anticipation of Advent, interwoven with ancient Armenian chants—including a haunting 5th-century hymn on the Annunciation. At its centre lies Tarquinio Merula’s extraordinary Canzonetta spirituale sopra alla nanna, where the tender lullaby of Mary cradling her newborn is pierced by chilling premonitions of his fate.

Ninna Nanna

  • Nerses Shnorhali (1102-1173) Aravot luso

    Thomas Morley (1557-1602) Miraculous Love's Wounding

    Catalan trad. El Cant dels Occells

    Michael Praetorius (1571-1621) Es ist ein Ros entsprungen

    Francesca Caccini (1587-1640) Maria, dolce Maria

    Armenian trad. Shogher jan

    St. Movses Khorenatsi (5th century) Urakhatsir Srbuhi

    Tarquinio Merula (1595-1665) Canzonetta spirituale sopra alla nanna

    J. Dowland (1563-1626) Time Stands Still

    M. Marais (1656-1728) Les Voix Humaines

    Tobias Hume (1569-1645) The King of Denmark's Delight

    Tobias Hume (1569-1645) A Merry Conceit

    L. Musaelian (b. 1997) Morning Light

    Welsh traditional All Through the Night

This is an example of a bespoke programme we prepared for a private recital at Lincoln’s Inn, where John Donne was the first prelate of the chapel. The programme is designed like a Baroque suite with five short sets incorporating combinations of spoken and sung poems, which have some thematic or symbolic connection.

While there are breaks between sets, this programme doesn’t contain an interval.

Donne in Love

  • The King of Denmark’s Delight - Tobias Hume (c. 1579-1645)

    The Bait - John Donne, William Corkine (fl. 1610-1617)

    Love’s Growth - Donne

    A Merry Conceit - Tobias Hume (c. 1579-1645)

    Break of Day - Corkine

    Stay, O Sweet - John Dowland (c. 1563-1626)

    Tombeau Les Regrets - Monsieur de Sainte-Colombe (1640-1700)

    Gigue La Petite - Marin Marais (1656-1728)

    Galliard à 2 - Alfonso Ferrabosco II (c. 1575-1628)

    So so, leave off - Ferrabosco

    Love Cannot Dissemble - Michael East (c. 1580-1648)

    The Flea - Lucine Musaelian (b.1997)

    Miraculous love’s wounding - Thomas Morley (c. 1557-1602)

    Air and Angels - Donne

    Time Stands Still - John Dowland

Inspired by Italo Calvino’s novel “Invisible Cities”, this programme weaves together music from Calvino’s home country of Italy with music of distant traditions and times. This includes 16th century Italian song, traditional Armenian music, an arrangement of a Handel aria, and original compositions by Lucine.

Full programme and lyrics here.

Italian Sounds

  • C. Simpson (1602-1669) - Divisions for Two Viols in G major

    G. Caccini (1551-1618) arr. Musaelian - Dalla porta d’oriente

    Di Rore/Dalla Casa (1515-1565/1543-1601) arr. Musaelian - Ancor che col partire

    Armenian trad. - Keler Tsoler

    Armenian trad. arr. Musaelian - Hov Arek

    Radiohead arr. Musaelian - Videotape

    INTERVAL

    D. Ortiz (1510-1570) - Recercada Segunda

    Sigismondo d’India (1582-1629) arr. Musaelian - Intenerite voi

    Armenian trad. arr. Musaelian - Chinar es

    M. Marais (1656-1728) - Le Badinage

    Armenian trad. arr. Musaelian - Sareri hovin mernem

    C. Monteverdi (1567-1643) arr. Musaelian - Si dolce è il tormento

    G. F. Handel (1685-1759) - Piangerò la sorte mia

    M. Marais - Les Voix Humaines

    L. Musaelian - Morning Light

This programme is made up of music which has inspired us from a wide range of styles and traditions, combined with some of Lucine’s own compositions. It features music by Marin Marais, Thobias Hume, François Couperin, Radiohead, The Beatles, The Killers, and Randy Newman, as well as traditional Armenian and Welsh folk music.

Full programme and lyrics here.

A Song I Heard

  • Marin Marais — Dialogues (Book V, Pièces de Viole)

    Tobias Hume — What Greater Griefe

    Tobias Hume — Spirit of Gambo

     

    Armenian trad. — Keler Tsoler

    The Beatles — Michelle

    The Killers — Read My mind

     

    Marin Marais — Le Badinage (Book IV, Pièces de Viole)

    Randy Newman — I think it’s gonna rain today

    Lucine — Morning Light

     

    Radiohead — Videotape

    Lucine — Mars

    François Couperin — Le Dodo

    Welsh trad. — All Through the Night

This programme showcases the rich, intimate, and vocal sound that two bass viols can create. It features music original to this combination, a few of our own arrangements of Armenian folk music, Irish music, a Radiohead cover, and some new music by Lucine. The progression of this programme reflects phases of sleep, and ends with the return of the morning.

All Through the Night

  • “Chinar Es", Armenian traditional folk song attributed to Komitas (1869-1935): (arr. Musaelian) (4 mins)

    Marin Marais (1656-1728): “Le Badinage,” from Pièces de Violes IV (1717), arr. Musaelian & Giorgetti (7 mins)

    Marin Marais: “Les Voix Humaines,” from Pièces de Violes II, (1701), arr. Musaelian & Giorgetti (4 mins)

    Anon. Aux Marches du Palais, arr. Musaelian & Giorgetti (4 mins)

    Anon. Ar Hyd y Nos (All through the Night), arr. Musaelian & Giorgetti (4.5 min)

    Radiohead (released 2007): Videotape, arr. Musaelian (4 mins)

    Ruaidhrí Dall Ó Catháin (c. 1650): “Da Mihi Manum”, arr. Musaelian & Giorgetti (3 mins)

    Lucine Musaelian (b. 1997): Mars (4 mins)

    François Couperin (1668-1733): “Le Dodo ou L'amour au Berceau” from Troisième livre de pièces de clavecin (1722), Ordre 15, arr. Musaelian & Giorgetti (4 mins)

    Lucine Musaelian (b. 1997): Morning Light (4 mins)

    Trad. The Banks of Severn, arr. Musaelian & Giorgetti (2 min)

    C. Simpson (c. 1602-1669): Bodleian Library MS Mus. Sch. C. 77 a and 77 b, no. 7 (5.5 mins)