Please find below our confirmed events this season, we are looking forward to adding more concerts throughout our 2025-26 season, particularly some exciting summer events.

For tickets to these concerts, you can access our TicketSource page here: https://www.ticketsource.co.uk/vocatio-responsio


EURO 2021 final ... through 18th century eyes

Monday 27th October 2025, 8pm
Holywell Music Room, OX1 3SB

Francesco Geminiani: Concerto Grosso in D Major, Op.7 No.1
George Friedric Handel: Concerto Grosso in B-Flat Major, Op.6 No.7
——INTERVAL——
William Hayes: Concerto Grosso in G Minor, (W)6:004 
Charles Avison: Concerto Grosso in D Major, Op.3 No.1
Charles Avison: Concerto Grosso in G Major, Op.4 No.6

Musical tastes in mid-eighteenth-century Britain can be defined by two notoriously controversial pieces of music criticism, the first of their kind in the English language. On the one side stood Charles Avison and his Essay on Musical Expression published in 1752, offering what at the time were the novel views of admiring foreign composers such as his teacher Francesco Geminiani, as well as looking forward to a modern aesthetic in composition. On the other side stood William Hayes, committed to preserving and defending the ‘ancient’ style as well as venerating his idol George Friedric Handel, and a year after Avison’s essay he anonymously published a scathing reaction, criticising not only his views on music but his credit as a composer.

While both men have fallen into obscurity as composers, this series of essays was a pivotal turning point in British musical culture, and you can join Vocatio:Responsio as we kick off our second season examining this quarrel, in the very room where all four featured composers heard their own music. Not to mention, you can also find out why on earth this relates to the EURO 2021 final between Italy and England…!

"In illo tempore": Scarlatti's St John's Passion

Monday 23rd March 2026, 8pm
St Matthews Church, Oxford, OX1 4LW

Wednesday 25th March 2026, 7pm
St Michaels Church, Blundellsands, L23 8SP

Giuseppe Sammartini: Sinfonia in A Major, Overture to ‘Memet’
Alessandro Scarlatti: St John’s Passion [John 18 & 19:1-37]

What is the difference between hearing something said and hearing something sung? At first glance, it would appear to be fundamentally very little: the presence of music gives varying tones and pitches to the speech of course, but surely that wouldn't be enough to change anything within the text itself. However, music not only affects the text, but dictates our whole understanding of what we are hearing, and what we are performing. That’s all thanks to the introduction of a third party, the composer, who does all the interpreting for us through their setting of the source. In the spoken word tradition, the interpretive process is usually carried out by the speaker themselves, creating a direct relationship with the text (as well as the author behind it) to inform their delivery of the words. However, the presence of a composer disrupts this link between author and speaker: in the case of this concert, the performer is presented with Alessandro Scarlatti’s imagining of John’s Gospel, and in their storytelling must subject themselves to interpreting Scarlatti’s reading and reproduction of John’s narrative.

Join Vocatio:Responsio as they aim to shine understanding on the first Passion setting written in seventeenth-century Italy, as well as a closer examination on music’s relationship with spoken text, how music affects our perception of the words we are hearing. 

N.B: for the second showing of this concert, 100% of the proceeds will go towards St Michael's Church's "Raise the Roof" appeal fund. https://stmichaelsblundellsands.co.uk