DOCSLIB.ORG

Mendelssohn Js Bach

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mendelssohn Js Bach 572161bk Mendelssohn US NEW 11/8/09 10:53 Page 8 Ave Maria Ave Maria, gratia plena: Hail Mary, full of grace, Dominus tecum, the Lord is with thee, MENDELSSOHN benedicta tu in mulieribus, blessed art thou among woman, et benedictus fructus ventris tui, Jesus. and blessed is the fruit of thy womb, Jesus. Sancta Maria, Mater Dei, Holy Mary, Mother of God, J. S. BACH ora pro nobis peccatoribus, pray for us sinners, nunc et in hora mortis nostrae. now and at the hour of our death. Amen. Amen. Magnificats in D major Yale Schola Cantorum • Yale Voxtet Yale Collegium Players • Simon Carrington Yale Schola Cantorum 8.572161 8 572161bk Mendelssohn US NEW 11/8/09 10:53 Page 2 Felix Mendelssohn-Bartholdy (1809–1847) Magnificat anima mea Magnificat anima mea Dominum My soul magnifies the Lord. Magnificat in D major 26:13 Et exultavit spiritus meus and my spirit has rejoiced in Deo salutari meo. in God my saviour. 1 Magnificat 3:43 4 Fecit potentiam 3:38 Chorus Bass (DK) Quia respexit humilitatem For he has regarded the low estate 2 Quia respexit 3:20 5 Deposuit potentes 4:11 ancillae suae: of his handmaiden: Soprano (MR), Chorus Trio (CL / LA / JS) ecce enim ex hoc for behold, henceforth all generations 3 Et misericordia 4:33 6 Gloria Patri – Fuga: Sicut erat 6:48 beatam me dicent omnes generationes. shall call me blessed. Chorus Chorus Quia fecit mihi magna For he who is mighty qui potens est: has done great things to me; 7 String Symphony No. 12 in G minor (ed. Robert Mealy) 4:52 et sanctum nomen ejus. and holy is his name. I. Fuga: Grave – Allegro Et misericordia ejus a progenie And his mercy is on them in progenies timentibus eum. who fear him from generation to generation. Johann Sebastian Bach (1685–1750) Fecit potentiam in brachio suo: He has shown strength with his arm; Magnificat in D major 27:54 dispersit superbos he has scattered the proud, mente cordis sui. even the arrogant of heart. 8 Magnificat 2:59 $ Fecit potentiam in brachio suo 1:54 Chorus Chorus Deposuit potentes de sede, He has deposed the mighty from their seats, 9 Et exultavit spiritus meus 2:20 % Deposuit potentes 2:03 et exaltavit humiles. and exalted the humble. Soprano (CL) Tenor (BR) Esurientes implevit bonis: The hungry he has filled with good things. 0 Quia respexit 2:45 ^ Esurientes implevit bonis 2:58 et divites dimisit inanes. and the rich he has sent empty away. Soprano (MR) Alto (JC) Suscepit Israel puerum suum, He has helped his servant Israel, ! & Omnes generationes 1:21 Suscepit Israel puerum suum 2:12 recordatus misericordiae suae. in remembrance of his mercy. Chorus Chorus, Soprano I (MR), Soprano II (CL) Sicut locutus est ad patres nostros, As it was spoken to our fathers, @ Quia fecit mihi magna 1:55 * Fuga: Sicut locutus 1:38 Abraham et semini ejus in saecula. to Abraham and his seed forever. Bass (JS) Chorus # Et misericordia eius 3:34 ( Gloria Patri 2:15 Gloria Patri, et Filio, Glory be to the Father, and to the Son, Alto / Tenor (JC / MS) Chorus et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now, et in saecula saeculorum, and ever shall be, world without end, Felix Mendelssohn-Bartholdy (1809–1847) Amen. Amen. ) Kirchenmusiken, Op. 23: No. 2 – Ave Maria 6:55 Tenor (BR) / Yale Voxtet (MR / LA / JC / MS / VS / DK) 8.572161 2 7 8.572161 572161bk Mendelssohn US NEW 11/8/09 10:53 Page 6 Yale Schola Cantorum Yale Schola Cantorum Simon Carrington, director Yale Schola Cantorum, founded in 2003, is a 24-voice chamber choir of students from across the university specializing in music from before 1750 and from the last hundred years. Simon Carrington is the group’s founder Soprano Alto Tenor Bass and conductor. In addition to performing regularly in New Haven, New York and Boston, Schola Cantorum records Awet Andemicael Laura C. Atkinson Casey Breves Matthew Barnson and tours nationally and internationally. Their live recording on CD with Robert Mealy and Yale Collegium (Bach only) Jay Carter Noah Horn David Dong-Geun Kim Musicum of Heinrich Biber’s 1693 Vesperae longiores ac breviores, received international acclaim from the early Esteli Gomez Lora Chow Bradley Naylor Jason P. Steigerwalt music press as have their subsequent CDs of J.S. Bach’s rarely heard 1725 version of the St John Passion and Lucy Fitz Gibbon Sooyeon Lee Birger Radde Benjamin Thorburn Antonio Bertali’s Missa Resurrectionis. Cecilia Leitner Elizabeth Picker Michael Sansoni Douglas Williams Lauren Quigley Valerie Rogotzke Kevin Zakresky Alexander Woods Melanie Scafide Russell Yale Collegium Players Sarah Whitfield The Yale Collegium Players is an ensemble of undergraduate and graduate instrumentalists who perform regularly Yale Voxtet in the Collegium’s early music programs at the Beinecke Rare Book and Manuscript Library and collaborate with James Taylor, director the Yale Schola Cantorum on music for voices and instruments. Using Yale’s recently acquired collection of baroque bows, the Players explore the wonderful repertory of early orchestral and chamber music, discovering the Melanie Scafide Russell, soprano (MR) Birger Radde, tenor (BR) dancing rhythms and vivid rhetoric of historically informed performance under the direction of violinist Robert Cecilia Leitner, soprano (CL) Michael Sansoni, tenor (MS) Mealy. Laura C. Atkinson, mezzo-soprano (LA) Jason P. Steigerwalt, baritone (JS) Jay Carter, countertenor (JC) David Dong-Geun Kim, bass (DK) Simon Carrington Yale Collegium Players Simon Carrington was director of the Yale Schola Cantorum and professor of choral conducting at the Yale Institute Robert Mealy, director of Sacred Music and Yale School of Music from 2003 to 2009, where he also led the introduction of the graduate voice track for singers specializing in oratorio, early music, art song, and chamber ensemble. From 2001 until his Violin 1 Cello Clarinet Horn Yale appointment in 2003, he was director of choral activities at the New England Conservatory, and from 1994 to Robert Mealy, principal Hannah Collins, pricipal Sergiy Dvornichenko, Jocelyn Carr Crawford 2001 he held a similar position at the University of Kansas. Prior to coming to the United States, Simon Carrington Nicholas DiEugenio Christopher Gibson principal Alma Liebrecht was a creative force for 25 years with the internationally acclaimed British vocal ensemble The King’s Singers, So-Young Kwon Agnes Coakley Won Jin Cho which he co-founded at Cambridge University. He gave 3,000 performances at many of the world’s most prestigious Jaram Kim Timpani festivals and concert halls, made more than seventy recordings, and appeared on countless television and radio Bass Bassoon Julian Pellicano programs including nine appearances with the late Johnny Carson. He maintains an active schedule as a freelance Violin 2 Cameron Arens, principal Aaron Apaza, principal conductor and choral clinician, leading workshops and master classes all over the world. Daniel Lee Ellen Connors Organ Jacqueline Jove Flute Ilya Poletaev (Bach only) Caroline Shaw Jen Chen, principal Trumpet Christian Lane Marc-Daniel van Biemen Yoobin Son Thomas Bergeron [principal for Viola Oboe / Oboe d’amore Mendelssohn Magnificat] Vesselin Todorov, Aaron Hill, principal Aaron Hodgson [principal The Yale Schola Cantorum is supported by the Yale Institute of Sacred Music principal Merideth Hite for Bach Magnificat] with support from the Yale School of Music. Anne Lanzilotti Chih-hao Lin Margaret Carey 8.572161 6 3 8.572161 572161bk Mendelssohn US NEW 11/8/09 10:53 Page 4 Felix Mendelssohn-Bartholdy (1809–1847) first version of the ‘Quia respexit’ (heard on this ‘ouverture’ leading to a masterful fugue worthy of his Johann Sebastian Bach (1685–1750) recording) that Zelter returned it to his pupil, with its esteemed master’s company. ornate part for obbligato viola and bassoon and soprano As an epilogue to the Magnificat settings, the Ave Magnificat heavily marked up for a complete revision. But Maria of 1830 stands at the cusp of a new age. It looks Mendelssohn’s original now appears in the appendix of at once back to the grand polychoral tradition The monastic office of Vespers has bequeathed western choral work to a few climactic sections or final the new collected works that includes the 1822 Mendelssohn had himself visited only a few years music one of its most beloved liturgical texts, the song movement. In 1749, just months before his father’s Magnificat. earlier in his Hora est and forward to Paulus and Elijah of Mary, known better by its opening Latin ‘magnificat’. death, he completed his Magnificat with a classical Whether the Singverein ever performed this (and many psalm settings as well as the operatic Erste Drawn directly from St Luke’s gospel (Luke 1.46–55), orchestration including a pair of horns, and this, along virtuosic Magnificat remains unclear, though like his Walpurgisnacht). 1830 also marked essentially the end this canticle is Mary’s response to the angel Gabriel, her with his father’s work, became the template for the many other choral works of the 1820s, it was excluded of Mendelssohn’s Latin church music, with the reply to his news that she will bear the Christ, the young Felix Mendelssohn some seventy years later. from the first ‘complete edition’ assembled by his quintessentially Catholic text of the Ave petition. Its anointed one of God. Its verses contrasts Mary’s Mendelssohn’s Magnificat of 1822 (not to be confused colleague Julius Rietz after his death in 1847. The construction resembles the intricacy of the choral works submission with the greatness of God, extending the with the setting composed shortly before his death) turns Singverein’s massive size – some 300 – would have of the 1820s, with its (eight-part) double choir texture.
Load more

Recommended publications
  • 2 Fifteenth Berkeley Festival & Exhibition 2
    2 FIFTEENTH BERKELEY FESTIVAL & EXHIBITION 2 june 3–10, 2018 Festival Advisory Committee, Board of Directors & Staff ...............................................................................................2 Festival Supporters ...........................................................................................................................................................3 Welcome ..........................................................................................................................................................................6 Festival Calendar .............................................................................................................................................................8 Main Stage Players Sunday, June 3 Seattle Historical Arts for Kids ...............................................................................................................................14 California Bach Society ..........................................................................................................................................17 Monday, June 4 Christine Brandes & Elizabeth Blumenstock ..........................................................................................................23 Tuesday, June 5 San Francisco Conservatory Baroque Ensemble Students and Alumni ...................................................................27 Davis Senior High School Baroque Ensemble ........................................................................................................30
    [Show full text]
  • Music of the Burgundians
    2015-2016 he Sounds of Time Music of the Burgundians TENET Jolle Greenleaf soprano Virginia Warnken Kelsey alto Jason McStoots tenor Andrew Padgett bass Robert Mealy vielle Dongmyung Ahn vielle Priscilla Herreid winds Jolle Greenleaf artistic director Robert Mealy guest music director 7pm on Friday, May 20, 2016 Saint Peter’s Church 619 Lexington Avenue New York City Music of the Burgundians (In memory of Richard Steinman) Donnés l’assault Guillaume Du Fay (1397–1474) De plus en plus se renouvelle Gilles Binchois (c. 1400–1460) La Danse de Clèves Anonymous, from Bruxelles MS 9085 Margarite, fleur de valeur Du Fay Je veuil chanter Du Fay Je ne vis oncques Binchois/Du Fay Je me recommande humblement Binchois Basse danse La Franchoise nouvelle Anonymous Mon cuer me fait dis penser Du Fay Plains de ploure Binchois Je me complains Du Fay Malhereux cueur Du Fay Dueil angoisseus Binchois Je demande ma bienvenue Johannes Haucourt (fl. c. 1390–c. 1416) Je ne puis vivre Antoine Busnoys (c. 1430–1492) De tous bien playne Hayne van Ghizeghem (c1445–1477) Josquin des Prez (c.1450–1521) Vostre beauté / vous marches Busnoys 3 Rabbit hunting with ferrets, Franco-Flemish, 1460 4 TEXT AND TRANSLATIONS Donnés l’assault a la fortresse Assault the fortress De ma gratieuse maistresse, of my gracious mistress, Hault dieu d’amors, je vous supplye; High god of Love, I beg of you. Boutés hors m’adverse partie Throw forth my enemy Qui languir me fait en destresse. who makes me languish in distress. C’est d’Anuy, qui par sa rudesse It is that of Spite, who, in his harshness De moy grever point ne se cesse never ceases to torment me my sweet and re- Envers ma dame gente et lye.
    [Show full text]
  • The Trinity Choir Trinity Baroque Orchestra
    at One The Trinity Choir Trinity Baroque Orchestra Julian Wachner, Conductor Bach Cantatas · Schütz Motets Poetry Mondays at 1pm March 21–June 20, 2011 TRINITY WALL STREET presents The Trinity Choir & Trinity Baroque Orchestra Julian Wachner, Conductor at One weekly service featuring the cantatas of J.S. Bach, with motets of Heinrich Schütz, and transformative readings by contemporary poets Mondays at 1pm March 21–June 20, 2011* St. Paul’s Chapel Broadway at Fulton * This program booklet May 2 - June 20 WELCOME WELCOME to BACH at ONE, A miD-DAY serVICE of cantatas, PRAYERS, anD poetry. Bach, a devout Lutheran, composed 200 cantatas using both sacred and secular texts. Many of those cantatas are heard in churches around the world every Sunday, but through Bach at One, your Monday lunch hour can be enriched by timeless cantatas. Motets by Heinrich Schütz, an influential predecessor of Bach will also be presented, as will poetry readings by a group of noted poets. If you enjoy this peaceful and sacred interlude to your day, please know you are warmly invited back—to Bach at One, or to another of the worship opportunities at St. Paul’s or at Trinity Church. In particular, I call your attention to Sunday morning services at 8am and 10am here, and a new service of Compline, or prayers for the end of the day. Compline is an ancient half-hour candlelit service of chant and new music sung by the Trinity Choir. Imagine your day ending with you and others saying together: It is night after a long day.
    [Show full text]
  • Prism 102903F2
    “Common ground “for musicians “and ministers, “for scholars PRISM “and practitioners.” YALE INSTITUTE OF SACRED MUSIC L ATE O CTOBER 2003 VOLUME X I I N UMBER 2 YALE U NIVERSITY Introducing the Yale Schola Cantorum Simon Carrington bout two years ago I received a letter informing me A that the Institute of Sacred Music at Yale University wished to establish a new chamber choir specializing in music before 1750 and from the last hundred years, and asking for suggestions for names of a possible director of such a choir. I obediently scratched around in my rolodex for people to recommend with only modest success for all sorts of rea- sons, but then found myself wondering if I should try and slip my own foot in through that particular door! I had only just taken up a new position at the New England Conservatory in Boston where I was hard at work trying to re-establish the choral program. Much as I was enjoying this new challenge Simon Carrington(left); Marguerite L. Brooks (right) (and life in Boston), the idea of a new choir at Yale (and the full professorship that went along with it) was hard to resist. The members of the proposed new choir were to receive a 2003-2004 Camerata Season stipend, somewhat on the lines of the choral scholars at my Marguerite L. Brooks alma mater, King’s College Chapel, Cambridge (England!), and the new choir would have the full support of the Institute, he 2003-2004 season for the Yale Camerata promises which was keen to encourage recordings and tours.
    [Show full text]
  • Weihnachts-Oratorium BWV 248 (1734) Parts I, III, V, and VI
    Johann Sebastian Bach (1685-1750) Weihnachts-Oratorium BWV 248 (1734) Parts I, III, V, and VI Robert Mealy guest music director Jolle Greenleaf artistic director Jolle Greenleaf, Molly Netter, Sarah Yanovitch sopranos Tim Keeler, Kate Maroney, Elisa Sutherland altos Andrew Fuchs, Gene Stenger, Gregório Taniguchi tenors Michael Maliakel, Paul Max Tipton, Jonathan Woody basses Perry Sutton, Brandon Bergeron, Robert Garrison trumpets Joseph Monticello, Bethanne Walker futes Gonzalo Ruiz, Julie Brye oboes Stephanie Corwin bassoon Robert Mealy, Jacob Ashworth, Katie Hyun, Abigail Karr violin I Jude Ziliak, Sarah Jane Kenner, Tatiana Daubek violin II Jessica Troy, Edward Li viola Matt Zucker cello Nathaniel Chase violone Jefrey Grossman chamber organ Sae Hashimoto timpani December 18 and 19, 2019 Church of St. Vincent Ferrer New York City Texts and Translations Teil 1 Part 1 1 Coro 1 Chorus Jauchzet, frohlocket! auf, preiset die Tage, Shout for joy, exult, rise up, glorify the day, Rühmet, was heute der Höchste getan! praise what today the highest has done! Lasset das Zagen, verbannet die Klage, Abandon hesitation, banish lamentation, Stimmet voll Jauchzen und Fröhlichkeit an! begin to sing with rejoicing and exaltation! Dienet dem Höchsten mit herrlichen Chören, Serve the highest with glorious choirs, Laßt uns den Namen des Herrschers verehren! let us honour the name of our ruler! 2 Evangelist 2 Evangelist Mr. Taniguchi Es begab sich aber zu der Zeit, dass ein Gebot von It happened at that time that an order went out dem Kaiser Augusto ausging, dass alle Welt ges- from Caesar Augustus that all the world should be chätzet würde. Und jedermann ging, dass er sich assessed.
    [Show full text]
  • THE IBERIAN SONGBOOK Saturday, April 14, 2018 Spanish Songs & Dances, C
    THE IBERIAN SONGBOOK Saturday, April 14, 2018 Spanish Songs & Dances, c. 1450–1625 First Church in Cambridge, Congregational Sunday, April 15, 2018 The Parish of All Saints, Ashmont THE IBERIAN SONGBOOK Spanish Songs & Dances, c. 1450–1625 I Scott Metcalfe director, violin & harp ? Philippe Rogier (c. 1561-1596) Cancion (strings) Margot Rood Pierre Francisque Caroubel (1556-1611 or 1615) Martin Near Pavane de Spaigne (dance) Jason McStoots Juan del Encina (1468-1529 or 1530) Mark Sprinkle Pues no te duele mi muerte Sumner Thompson Encina Paul Guttry Más vale trocar plaser por dolores voices Anonymous Scott Metcalfe Rodrigo Martines Johanna Novom Anna Griffis Laura Jeppesen II Emily Walhout Juan Vásquez (c.1500-c.1560) violin consort Ojos morenos ¿quándo nos veremos? Simon Martyn-Ellis Nicolas Gombert (c. 1495-c. 1560) Daniel Zuluaga (c. 1500-after 1557) arr. Enríquez de Valderrábano vihuelas & guitars Assiste parata (vihuelas) Juan de Cabezón (d. 1566) Jonathan Hess Quien llamó al partir partir percussion Vásquez Quien amores tiene ¿cómo duerme? Ken Pierce Camilla Finlay dancers III Mateo Flecha (1481-c. 1553) La Bomba Anonymous La de las medias-La de las damas-La francesa (dances) Intermission 2 IV Pre-concert talk in Cambridge Fabritio Caroso (d. after 1605) by Daniel Zuluaga La Spagnoletta sponsored in part by Anonymous The Cambridge Society Stava la gentil dama for Early Music Caroubel & Michael Praetorius (1571-1621) L’espagnolette & Spagnoletta(dance) V Blue Heron is Anonymous funded in part Claros y frescos ríos by the Massachusetts Rogier Cultural Council, Cancion (strings) a state agency. Valderrábano Música para discantar sobre el atambor (vihuelas) Juan Blas de Castro (c.
    [Show full text]
  • View Press Release
    Contact: The Crossing Steven Gearhart 267.872.6235 [email protected] Press Release June 16, 2014 The Crossing receives $200,000 grant from the Pew Center for Arts and Heritage Record grant to support June 2016 premiere of Seven Responses The Pew Center for Arts and Heritage has named The Crossing among their fortunate recipients of Project Grants announced today, June 16, 2014. The 24-voice professional choir will receive $200,000 to fund a large-scale collaborative project titled Seven Responses, the brainchild of Crossing conductor, Donald Nally. Continuing and expanding its role as a curator of new music, The Crossing will commission Seven Responses, engaging seven of the world's foremost composers to create seven individual responses to Buxtehude's Jesu Membra Nostri, an iconic sacred work of the German Baroque consisting of seven cantatas. The Crossing will perform the new works in repertory with Buxtehude's 17th-century work with two leading ensembles in their respective fields of performance: Robert Mealy's Quicksilver Baroque and Claire Chase's International Contemporary Ensemble (ICE). Seven Responses will challenge artists and audiences alike to explore our relative distance from, or closeness to, music across centuries and cultures. The works will be presented over two evenings, alternating between old and new works throughout each evening. Each composer has been invited to collaborate with an author of their choice, or to create their own libretto. The Crossing's commissions have increasingly addressed issues related to the environment, to equality, and to the individual's place in the community, the latter being a topic that is driving media content worldwide at an extraordinary volume.
    [Show full text]
  • Juilliard Baroque Ensemble
    65th Concert Series 2018-2019 is pleased to present Juilliard Baroque Ensemble Julie Andrijeski, violin Robert Mealy, violin Cynthia Roberts, violin Phoebe Carrai, cello Avi Stein, harpsichord Charles Weaver, theorbo and guitar Saturday, March 30, 2019 Pleasantville High School, Pleasantville, New York President: Betsy Shaw Weiner, Croton Vice President: Board Associates: Howard Cohen, Cortlandt Manor Keith Austin, Briarcliff Manor Secretary: George Drapeau, Armonk Susan Harris, Ossining Treasurer: Marc Auslander, Millwood Board of Directors: William Altman, Croton Klaus Brunnemann, Briarcliff Manor Adam Glenn, Sleepy Hollow David Kraft, Briarcliff Manor Tom Post, Mt. Kisco Rosella Ranno, Briarcliff Manor Thomas Bastone, Sleepy Hollow Who We Are Friends of Music Concerts, Inc. is an award-winning, non-profit, volunteer organization now celebrating its 65th season of showcasing, right here in Westchester, artists chosen from among the finest in today’s diverse world of chamber music. Additionally, our Partners in Education program in the public schools and free student admission to our concerts give young people enhanced exposure to and appreciation of classical music. In order to help sustain what one of our artists called this “legendary series,” we need people who can join the volunteers listed above, either as Board members or equally valued off-Board committee members. Specifics we are looking for include, but are not limited to, people with networking, editorial, business development, and/or fund-raising skills. Call us at 914-861-5080 or contact us on our website (see below); we can explore the range together. Acknowledgments Our concerts are made possible, in part, by an ArtsWestchester Program Support grant made with funds received from Westchester County Government.
    [Show full text]
  • Juilliard415 Yale Schola Cantorum Yale Voxtet Masaaki Suzuki, Conductor
    Saturday Evening, November 2, 2019, at 7:30 The Juilliard School presents Juilliard415 Yale Schola Cantorum Yale Voxtet Masaaki Suzuki, Conductor Telemann: The Day of Judgment GEORG PHILIPP TELEMANN (1681–1767) Overture in D major for Two Flutes, Bassoon, Horn, Strings, and Basso Continuo, TWV 55: D23 (1763) Ouverture Menuets I & II Plainte Gaillarde Sarabande Passepieds I & II Passacaille Fanfare TELEMANN Der Tag des Gerichts (The Day of Judgment), TWV 6:8 (1762) Die Erste Betrachtung Introduction Chorus. Der Herr kommt mit viel tausend Heiligen (Chor der Gläubigen) Recitative. Ruft immerhin, des Pöbels Wut zu zähmen (Unglaube) Aria. Fürchtet nur, fürchtet des Donnerers Schelten (Unglaube) Recitative. Wer ist, der kühn sein Joch zerreißt? (Unglaube, Vernunft, Spötter) Aria. Jetzt weiß ich’s, überkluge Köpfe (Spötter) Recitative. Genug der Schande bloßgestellt! (Vernunft) Aria. Des Sturmes Donnerstimmen schallen (Vernunft) Recitative. Ganz recht, das Endliche vergeht (Religion) Chorus. Dann jauchzet der Gerechten Same (Chor der Gläubigen) Intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Juilliard’s full-scholarship Historical Performance program was established and endowed in 2008 by the generous support of Bruce and Suzie Kovner. Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Die Zweite Betrachtung Chorus. Es rauscht, so rasseln stark rollende Wagen (Chorus) Accompagnato. Da sind sie, der Verwüstung Zeichen! (Andacht) Aria. Da kreuzen verzehrende Blitze (Andacht) Recitative. Gewaltig Element! (Glaube) Arioso. Ich aber schwinge mich empor (Glaube) Die Dritte Betrachtung Accompagnato. Ich sehe, Gott, den Engel deiner Rache! (Andacht) Arioso. So spricht der Herr, der mich gesandt (Erzengel) Recitative.
    [Show full text]
  • JUILLIARD415 Touring NZ: 27 February - 13 March
    JUILLIARD415 Touring NZ: 27 February - 13 March Core Funder VOCES84–10 July Prepare yourself for the exceptionally smooth sounds of VOCES8 as they take you on an acoustic tour of cathedrals throughout NZ. chambermusic.co.nz/voces8 Baroque Invention: A Tale of Two Countries HANDEL Overture to Agrippina Page 15 MARAIS Dances from Sémélé Page 16 VIVALDI Concerto for flute, op 20, no 2, RV 439 (“La notte”) Page 17 MUFFAT Sonata V in G major from Armonico tributo Page 18 —interval— CORELLI Concerto grosso in D major, op 6, no 7 Page 19 GILLIAN WHITEHEAD time steps out of line Page 20 RAMEAU Suite from Dardanus Page 21 95 minutes including interval Thu 27 Feb, 7.30pm | Gallagher Academy of Performing Arts, Hamilton Fri 28 Feb, 7.30pm | Holy Trinity Cathedral, Auckland Mon 2 Mar, 7.30pm | 4th Wall Theatre, New Plymouth Tue 3 Mar, 7.30pm | The Globe, Palmerston North Thu 5 Mar, 7.30pm | MTG Century Theatre, Napier Sat 7 Mar, 7.30pm | Salvation Army Citadel, Wellington Mon 9 Mar, 7.30pm | Nelson Centre for Musical Arts Tue 10 Mar, 7.30pm | The Piano, Christchurch Thu 12 Mar, 7.30pm | Glenroy Auditorium, Dunedin Fri 13 Mar, 7.30pm | Civic Theatre, Invercargill *Presented in association with The Juilliard School through the generous support of Sarah Billinghurst Solomon. Programme notes by Kate Gerrard and Robert Mealy. The Auckland concert is being recorded for later broadcast by RNZ Concert TĒNĀ KOUTOU What better way to open the 2020 of a number of people and concert season than in celebration organisations including Pub Charity.
    [Show full text]
  • February 2008
    2008 february vol xvi · no 4 music · worship · arts Prismyale institute of sacred music common ground for scholarship and practice From the Director’s Desk Martin D. Jean As you read this, I expect those of you in cold climates may now be seeing some sign of thaw. If your climate is like ours, however, there is the likely chance that many weeks of winter remain. Because Easter is so early this year (in fact, among the earliest possible days for the Great Feast), Lent’s connotation as “Spring” is pushing the boundaries, I would say! All the more reason that Easter, for those who celebrate it, will come as a timely way to break the Lenten fast. To be sure, the cold weather in New Haven has done nothing to slow the pace at the ISM. The number of events we have sponsored is too great to give an even-handed report about, but here are a few highlights. As reported in the October/November issue, the new Taylor & Boody Organ for Marquand Chapel was named at its October inauguration for Prof. Charles Krigbaum in honor of 37 years of distinguished teaching and service at Yale University. We were pleased to have kept this a total secret from Charles, and by looking at photos of him from PRISM, you can see that it was just that! The weekend was a glorious event that began with the liturgical dedication of the organ at Friday’s regularly scheduled Eucharist. Prof. Tom Troeger presided and preached, he and student Dominick DiOrio wrote a hymn of dedication that we sang, and Margot Fassler blessed the new instrument.
    [Show full text]
  • 2008 EROI Program Book
    2 EROI FESTIVAL 2008 SPONSORS: University of Rochester Press/Boydell & Brewer, Inc. Rochester Club Ballroom Constellation Center Westfield Center Howe & Rusling Investment Man- agement Organ Historical Society Rochester Chapter, American Guild of Organists Glenn E. Watkins Lecture Endowment at the Eastman School of Music Episcopal Diocese of Rochester Reformation Lutheran Church The Central New York Humanities Corridor, sponsored by the Andrew W. Mellon Foundation Sacred Heart Cathedral (RC) First Presbyterian Church, Pittsford Christ Church (Episcopal) Third Presbyterian Church Christ Church Schola Cantorum Boston Early Music Festival Parsons Pipe Organ Builders Pasi Organ Builders, Inc. Paul Fritts and Co. Organ Builders Richards Fowkes & Co. Pipe Organ Builders C. B. Fisk, Inc. Taylor and Boody Organ Builders Flentrop Organ Builders, The Netherlands Gerald Woehl Organ Builders, Ger- many GOArt, Göteborg University, Sweden Loft and Gothic Recordings Eastman School of Music EROI Working Committee Anonymous Anony- mous, in memory of James M. Winn, organist and pedagogue EROI WORKING COMMITTEE: Hans Davidsson, Professor of Organ and EROI Project Director Peter DuBois, Director of the Sacred Music Diploma Program David Higgs, Professor and Chair of the Organ Department Robert Kerner, Eastman Organ Technician Annie Laver, EROI Project Manager Patrick Macey, Professor and Chair of Musicology Elizabeth W. Marvin, Professor of Music Theory Jonathan Ortloff, Undergraduate EROI Assistant William Porter, Professor of Organ and Harpsichord Kerala J. Snyder, Professor of Musicology Emerita Daniel Zager, Associate Dean and Head Librarian of Sibley Music Library. EROI FESTIVAL 2009: October 29-November 1: Mendelssohn and the Contrapuntal Tradition 3 THE EASTMAN-ROCHESTER ORGAN INITIATIVE (EROI) When the Eastman School of Music opened its doors in 1921, it housed the largest and most lavish organ collection in the nation, befitting the interests of its founder, George Eastman.
    [Show full text]