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Wigmore Hall’s 115th season – including a landmark survey of Schubert’s songs and major artist residencies – begins tomorrow Season highlights include: Iestyn Davies and The English Concert in the opening concert Schubert: The Complete Songs launches a two-season survey of the composer’s complete Lieder Celebrating Magdalena Kožená series includes first UK recital with Sir Simon Rattle, who makes his Wigmore Hall debut Bartók Chamber Music series Borodin Quartet perform a Beethoven and Shostakovich Cycle Jean-Guihen Queyras is Wigmore Hall’s Artist in Residence for 2015/16 Igor Levit Series and Introducing James Baillieu underline Wigmore Hall’s commitment to outstanding young artists Henry Purcell: A Retrospective includes Iestyn Davies and Andreas Scholl in recital and concerts by The Sixteen, Vox Luminis and Trevor Pinnock Conclusion of Wigmore Hall’s The Mozart Odyssey Christian Gerhaher: Singer in Residence The Sixteen Residency Friedrich Cerha Focus Day explores Austria’s leading composer Haydn and Dvořák Series from the Eggner Trio Llŷr Williams continues Beethoven Piano Sonata Cycle Elīna Garanča makes her Wigmore Hall debut Adventurous artistic projects and world-class performers supply the essential spirit of Wigmore Hall’s 2015/16 Season. The new artistic programme, which begins tomorrow (Saturday 12 September), offers audiences the chance to explore a vast range of repertoire and to experience profound interpretations from great musicians and emerging artists alike. Wigmore Hall’s place at the heart of British and international cultural life is reflected in a programme as rich and diverse as any on the global concert scene, boldly projected in the 2015/16 Season’s opening week and reinforced over its course with landmark series, compelling artist residencies and recitals destined to attract capacity audiences. Creative energy and the highest achievements of the human spirit will be celebrated throughout the season as part of Wigmore Hall’s long-term investment in promoting and developing the great legacy of chamber music and song. Wigmore Hall enters its 115th anniversary season propelled by a prolonged and ongoing period of investment and development. Attendances at Wigmore Hall have almost doubled from 120,000 a decade ago to 200,000 in 2014/15, attracting close to full capacity audiences for the vast majority of concerts. In the coming season Wigmore Hall will promote 920 events, an astonishing number that comprises 460 concerts and 460 Learning events. The quality of the artistic programme and quantity of outstanding concerts, exceptional by the standards of any international recital venue, rest on Wigmore Hall’s success in securing £1.6 million each year in sponsorship and is driven by the sustained momentum of its other fundraising initiatives. ‘As the flagship national and a leading international organisation for chamber music and song, Wigmore Hall plays a significant role in nurturing the UK’s cultural ecology’, comments John Gilhooly. ‘People around the world want to engage with us, which is why we are determined to fulfil our role among leading cultural organisations. Wigmore Hall is committed to growing in all areas of its work and is determined to increase its reach and impact as part of what we see as our responsibility.’ Iestyn Davies, whose first Wigmore Hall Live album won Gramophone’s Recital Award in 2014, opens the Hall’s 2015/16 Season on Saturday 12 September. The acclaimed British countertenor joins forces with The English Concert and Harry Bicket in a programme of Handel arias. The season’s first week also sees the launch of the Borodin Quartet’s Beethoven and Shostakovich Cycle (15 & 17 September) and of Wigmore Hall’s eight- concert Bartók Chamber Music focus, the latter connecting to a relationship between Wigmore Hall and the Hungarian composer’s music that began during his lifetime. Canadian violinist James Ehnes starts the series on 18 September with Bartók’s virtuosic violin sonatas and returns to perform other works on 10 January. The gamut of Bartók concerts spans Cédric Tiberghien’s explorations of the piano works (24 November & 24 May), a complete survey of Bartók’s six string quartets by the Heath Quartet (11 & 13 May), a programme comprising the Sonata for Two Pianos and Percussion with Tiberghien, François-Frédéric Guy, Colin Currie and Sam Walton (19 March), and a recital by the young Hungarian violinist Barnabás Kelemen (11 June). One of the most ambitious projects ever presented at Wigmore Hall also begins this month. Schubert: The Complete Songs, spread over the course of two seasons, will encompass Franz Schubert’s 600-plus Lieder. Every programme in the series will unfold in chronological order, moving from little-known student pieces to sublime late songs. Austrian baritone Florian Boesch and Graham Johnson, one of the world’s leading experts on Schubert song, open Wigmore Hall’s landmark series on 22 September. Other contributing artists include Henk Neven, Sarah Connolly, Christoph Prégardien, James Baillieu, Malcolm Martineau, Lucy Crowe, Christianne Stotijn, Christopher Maltman, Luca Pisaroni, Simon Keenlyside, Ian Bostridge, Miah Persson, Angelika Kirchschlager, Helmut Deutsch, Robin Tritschler and Roderick Williams. ‘This Schubert series has been three years in the making’, John Gilhooly observes. ‘We are delighted to be collaborating with the Schubertiade Schwarzenberg and Hohenems Festival in this mammoth project, a new international partner for us, and one that truly believes as much as we do in preserving the song recital as a paramount concert-going experience.’ Wigmore Hall continues to enhance its programme by investing in dedicated artist profiles, residencies and focus events. Next season offers an unprecedented number of such special projects, embracing works from more than five centuries of musical history performed by artists recognised for the originality and insight of their music-making. Jean-Guihen Queyras has become an established favourite with Wigmore Hall’s audience. The French cellist will be Artist in Residence next season, performing four concerts and leading a masterclass session with postgraduate students from London’s conservatoires. His tenure begins on 19 September when he shares the stage with Emmanuel Pahud and Eric Le Sage. Queyras also performs piano trios by Schumann, Salvatore Sciarrino and Schubert with Isabelle Faust and Alexander Melnikov (22 December), appears in recital with Alexandre Tharaud (13 March), and explores chamber works by Dvořák, Martinů and Schumann in company with Lisa Batiashvili, Antoine Tamestit and Jonathan Biss (17 May). Wigmore Hall’s Celebrating Magdalena Kožená series explores the work of one of the most perceptive and versatile song recitalists of our time. The Czech mezzo-soprano is set to perform with Mitsuko Uchida on 2 and 5 October, presenting a carefully conceived programme of songs by Schumann, Wolf, Dvořák and Schoenberg. Kožená’s charismatic artistry can also be experienced on 29 January when she is joined by Sir Simon Rattle, making his Wigmore Hall debut as pianist, and accompanied by an ensemble of outstanding instrumentalists, Andrew Marriner and Amihai Grosz among them. Their programme includes Stravinsky’s rarely performed Three Songs from William Shakespeare, Janáček’s delightful Rikadla (‘Nursery Rhymes’) and Brahms’s elegiac Two songs with viola Op. 91. She returns on 8 March to work with the Baroque ensemble La Cetra in a concert that includes Monteverdi’s Il combattimento di Tancredi e Clorinda, Berio’s Sequenza III for solo voice and a new work by Czech composer Vit Zouhar. The series closes at the beginning of July in the atmospheric space of Wilton’s Music Hall in London’s East End, where Kožená will lead a programme of cabaret songs and others works from the 1920s and 1930s. This will be the Wigmore Hall’s first concert away from home. Two other major programming strands continue. The Mozart Odyssey unfolds with seven concerts, with Alina Ibragimova and Cédric Tiberghien concluding their survey of Mozart’s works for violin and piano (27 October & 30 January) and Francesco Piemontesi beginning his cycle of the complete piano sonatas (25 January & 13 July). Michael Collins and the City of London Sinfonia mark Mozart’s birthday on 27 January with a programme including the ‘Gran Partita’ and Clarinet Concerto, while Aurora Orchestra presents morning and late night concerts (24 April & 17 June) built around Mozart’s music. Henry Purcell: A Retrospective, meanwhile, moves through its second season with nine concerts given by peerless interpreters of the London-born composer’s works. The critically acclaimed series recommences on 13 October when Trevor Pinnock and a hand-picked ensemble of singers and instrumentalists perform Dido and Aeneas. Other series highlights include a programme of sacred anthems given by Vox Luminis (25 October), two concerts of royal welcome songs for Charles II and James II from The Sixteen and Harry Christophers (3 March & 7 June), and an evening of duets and arias for countertenor featuring the irresistible combination of Iestyn Davies, Andreas Scholl and The English Concert (19 November). Two master composers of the piano trio occupy centre stage throughout the Eggner Trio’s Haydn and Dvořák Series. The ensemble, founded in Vienna in 1997, comprises three brothers who are each active as solo performers. Collectively they have attracted an ardent Wigmore Hall following with interpretations that crackle with exhilarating energy and musical intensity. The Sixteen and Harry Christophers, in addition to their part in Purcell: A Retrospective, also focus on the work of another pioneer of Baroque music. The Sixteen Residency opens on 3 November with a generous selection of Monteverdi’s sacred works, including the ‘Dixit Dominus’ from his Selva morale e spirituale, regarded today as the composer’s crowning achievement in church music. The programme also comprises Cavalli’s Magnificat and Monteverdi’s equally sonorous eight-part motet Confitebor Primo. The season showcases the exceptional talents of two young artists widely tipped to join the pantheon of great performers.
Recommended publications
  • HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009

    HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009

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  • Extract from Text

    Extract from Text

    DISCOVER CHORAL MUSIC Contents page Track List 4 A Brief History of Choral Music , by David Hansell 13 I. Origins 14 II. Early Polyphony 20 III. The Baroque Period 39 IV. The Classical Period 68 V. The Nineteenth Century 76 VI. The Twentieth Century and Beyond 99 Five Centuries of Choral Music: A Timeline (choral music, history, art and architecture, literature) 124 Glossary 170 Credits 176 3 DISCOVER CHORAL MUSIC Track List CD 1 Anon (Gregorian Chant) 1 Crux fidelis 0.50 Nova Schola Gregoriana / Alberto Turco 8.550952 Josquin des Prez (c. 1440/55–c. 1521) 2 Ave Maria gratia plena 5.31 Oxford Camerata / Jeremy Summerly 8.553428 John Taverner (c. 1490–1545) Missa ‘Gloria Tibi Trinitas’ 3 Sanctus (extract) 5.28 The Sixteen / Harry Christophers CDH55052 John Taverner 4 Christe Jesu, pastor bone 3.35 Cambridge Singers / John Rutter COLCD113 4 DISCOVER CHORAL MUSIC Thomas Tallis (c. 1505–1585) 5 In manus tuas, Domine 2.36 Oxford Camerata / Jeremy Summerly 8.550576 William Byrd (c. 1540–1623) 6 Laudibus in sanctis 5.47 Oxford Camerata / Jeremy Summerly 8.550843 Giovanni Pierluigi da Palestrina (c. 1525/6–1594) Missa ‘Aeterna Christi Munera’ 7 Agnus Dei 4.58 Oxford Camerata / Jeremy Summerly 8.550573 Tomás Luis de Victoria (1548–1611) 8 O magnum mysterium 4.17 Oxford Camerata / Jeremy Summerly 8.550575 Claudio Monteverdi (1567–1643) Vespers of the Blessed Virgin 9 Laudate pueri Dominum 6.05 The Scholars Baroque Ensemble 8.550662–63 Giacomo Carissimi (1605–1674) Jonas 10 Recitative: ‘Et crediderunt Ninevitae…’ 0.25 11 Chorus of Ninevites: ‘Peccavimus,
  • View/Download Liner Notes

    View/Download Liner Notes

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  • Tallis's Spem in Alium

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    Spem in Alium – a comparatively review of fourteen recordings by Ralph Moore Background We know less about Thomas Tallis than Shakespeare or any other major cultural figure of the Tudor age; definite facts are few and reasonable inferences and conjectures are many, starting even with the dates of his birth – presumed to be around 1505 - and death - either 20th or 23rd November, 1585. The exact site of his grave in the chancel of the parish of St Alfege Church, Greenwich, is lost. We have no authenticated portrait. What we do know is that despite being a recusant Catholic, he not only survived those perilous times but prospered under a succession of Protestant monarchs, the sole Catholic being Edward VII’s sister Mary, who reigned for only five years, from 1553-1558. He was so valued and respected that Elizabeth gave him the lease on a manor house and a handsome income, and in 1575 he and his pupil William Byrd were granted an exclusive royal patent to print and publish polyphonic music. The key to his survival must lie in his discretion, flexibility and, above all, prodigious talent: he is indubitably one of the greatest English composers of his or any age and a towering figure in Renaissance choral music. His masterpiece is certainly the forty-voice motet Spem in alium but here again, verified facts regarding its origin and first performance are few. The original manuscript is lost and our knowledge of the work is derived from another score prepared for the investiture in 1610 of James I’s elder son, Henry, as Prince of Wales, and used again for the coronation in 1625 of his younger brother, Charles I, next in line to the throne after Harry’s death in 1612 from typhoid fever at eighteen years old.
  • London's Symphony Orchestra

    London's Symphony Orchestra

    London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July.
  • EC-Bach Perfection Programme-Draft.Indd

    EC-Bach Perfection Programme-Draft.Indd

    THE ENGLISH CONCE∏T 1 CONCERT PROGRAMME JS Bach - In Search of Perfection 2019 – 2020 London Season Tuesday 25 February 7.30pm Wigmore Hall, London 2 3 WELCOME PROGRAMME Wigmore Hall, More than any composer in history, Bach The English Concert 36 Wigmore Street, Orchestral Suite No 4 in D Johann Sebastian Bach is renowned Laurence Cummings London, W1U 2BP BWV 1069 Director: John Gilhooly for having frequently returned to his Guest Director / The Wigmore Hall Trust own music. Repurposing and revising it Bach Harpsichord Registered Charity for new performance contexts, he was Sinfonia to Cantata 35: No. 1024838. Lisa Beznosiuk Geist und Seele wird verwirret www.wigmore-hall.org.uk apparently unable to help himself from Flute Disabled Access making changes and refinements at Bach and Facilities Tabea Debus Brandenburg Concerto No 5 in D every level. Recorder BWV 1050 Tom Foster In this programme, we explore six of Wigmore Hall is a no-smoking INTERVAL Organ venue. No recording or photographic Bach’s most fascinating works — some equipment may be taken into the Sarah Humphrys auditorium, nor used in any other part well known, others hardly known at of the Hall without the prior written Bach Recorder permission of the Hall Management. all. Each has its own story to tell, in Sinfonia to Cantata 169: Wigmore Hall is equipped with a Tuomo Suni ‘Loop’ to help hearing aid users receive illuminating Bach’s working processes Gott soll allein mein Herze haben clear sound without background Violin and revealing how he relentlessly noise. Patrons can use the facility by Bach switching their hearing aids over to ‘T’.
  • Dame Sarah Connolly Mezzo-Soprano Joseph Middleton

    Dame Sarah Connolly Mezzo-Soprano Joseph Middleton

    Dame Sarah Connolly mezzo-soprano Joseph Middleton piano Julia Mariko Smith soprano Christopher Pulleyn piano Sunday 25 April 2021 6.00pm Leeds Town Hall PROGRAMME Julia Mariko Smith and Christopher Pulleyn – Momentum Artists Richard Strauss From Mädchenblumen, Op.22 Mohnblumen Epheu Edvard Grieg From Sechs Lieder, Op. 48 Zur Rosenzeit Claude Debussy From Proses Lyriques, L84 De Soir From Recueil Vasnier, L44 Musique Dame Sarah Connolly and Joseph Middleton Gustav Mahler Songs from Des Knaben Wunderhorn Rheinlegendchen Das irdische Leben Wo die schönen Trompeten blasen Urlicht Ernest Chausson Poème de l’amour et de la mer La fleur des eaux Interlude La mort de l’amour John Ireland Earth’s Call E J Moeran Twilight Ivor Gurney By a Bierside Thou didst delight mine eyes Edward Elgar Sea Pictures, Op. 37 Sea Slumber Song In Haven (Capri) Where Corals Lie Sabbath Morning at Sea Leeds Lieder Concert Season 2020-21 Momentum Programme Julia Mariko Smith soprano Christopher Pulleyn piano Richard Strauss (1864-1949) from: Mädchenblumen Mohnblumen Poppies Mohnblumen sind die runden, Poppies are the round, Rothblutigen, gesunden, Red-blooded, healthy girls, Die sommersproß-gebraunten, Freckled brown by the sun, Die immer froh gelaunten, Always cheerful, Kreuzbraven, kreuzfidelen, Tremendously good, tremendously loyal, Tanz-nimmermüden Seelen, Who never tire of dancing, Die unterm Lachen weinen, Who cry while laughing, Und nur geboren scheinen, Who seem to be born Die Kornblumen zu necken, Only to tease the cornflowers, Und dennoch oft verstecken And
  • Proms 2005 1

    Proms 2005 1

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  • Heroes and Heroines Handel

    Heroes and Heroines Handel

    Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 2 CORO The Sixteen Edition CORO The Sixteen Edition Sarah Connolly Heroes and Heroines Handel To find out more about HARRY CHRISTOPHERS The Sixteen, concerts tours THE SYMPHONY OF or to buy CDs, visit www.thesixteen.com C O R 1 6 0 2 5 HARMONY AND INVENTION Heroes & Heroines Booklet (New Times) 5/5/05 9:03 Page 46 FROM HERCULES (Dejanira) I have to confess thatOfficial this recording launch of makes‘Heroes me and feel Heroines’ very Sarah Connolly proud. Proud, in thatat everythe 2004 singer Handel who in has Oxford ever Festival,left The bm Sinfonia (Act 2) Sixteen to pursue a solomade career, possible has through been, andthe generousindeed is, Heroes and Heroines very successful. Sarahsupport Connolly, of The however, Zvi Meitar is more Family than Fund. that – she is exceptional. bn Recitative George Frideric Handel She sang with theRecording group in Producer: the late Mark 1980s Brown and early 1990s and her virtuosity,Recording stunning Engineer: performing Mike Hatch ability Dissembling, false, perfidious Hercules!HARRY CHRISTOPHERSThe sun should cease to dawn, the silver moon and vivacious personalityRecorded were at St. very Silas muchthe Martyr, apparent then; Did he not swear, when THEfirst heSYMPHONY woo’d my OFlove, HARMONYBe blotted AND fromINVENTION her orb, ere he prov’d false? Kentish Town, London there was always an additional surge of electricity when Photography: Peter Warren. www.peterwarren.co.uk she was around. Now, of course, Sarah is one ofVocal this Consultant: country’s Gerald finest Martin singers Moore and a great Handelian.
  • Download Booklet

    Download Booklet

    CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition Blest Cecilia recordings available on Coro Britten Volume 1 COR16006 Iste Confessor "A disc of Samson exceptional quality, The Sacred Music of reinforcing the George Frideric Handel Domenico Scarlatti Sixteen's reputation COR16003 as one of the finest The Sixteen “Outstanding... astonishing choirs of our day." The Symphony of Harmony and Invention stylistic and expressive range” GRAMOPHONE BBC MUSIC MAGAZINE HARRY CHRISTOPHERS The Call of The Beloved The Fairy Queen T HOMAS R ANDLE Victoria Purcell COR16007 2CD set M ARK P ADMORE "If one can ever achieve COR16005 complete emotional "A performance like L YNDA R USSELL expression through the this shows dimensions of power of music, then Purcell's genius that are all L YNNE D AWSON here it is." too rarely heard on disc" HARRY CHRISTOPHERS GRAMOPHONE C ATHERINE W YN -R OGERS Gramophone magazine said of The Sixteen’s recordings “This is what recording should be about...excellent performances and recorded sound...beautiful and moving.” M ICHAEL G EORGE Made in Great Britain J ONATHAN B EST For details of discs contact The Sixteen Productions Ltd. 00 44 1869 331544 or see www.thesixteen.com; e-mail [email protected] N The Sixteen For many years Handel’s G.F. HANDEL (1685-1759) Samson was every British SAMSON choral society’s antidote to SAMSON Messiah. However, over the n 1739 at least two Miltonic projects were urged upon Handel by a circle of wealthy supporters An Oratorio in 3 Acts by past two or three decades it including Jennens, the philosopher James Harris and the 4th Earl of Shaftesbury.
  • Handel's Messiah for Our Time

    Handel's Messiah for Our Time

    EXPERIENCE LIVING MUSIC HANDEL’S MESSIAH FOR OUR TIME December 20, 2020 PROGRAM NOTES HANDEL’S MESSIAH A MUSICAL CELEBRATION FOR OUR TIME Streamed Online “Such was the excitement of the hearers and the enthusiasm of the performers that there is nothing to be compared with it at the present day.” December 20, 2020 at 7:00PM and Broadcast GBH’s Fraser and Calderwood Studios on Television This was how one performer remembered the first performance by the Handel and Haydn Society on Christmas Day 1815. Featuring excerpts from Handel’s Messiah in addition to Haydn’s oratorio The Creation, the performance at King’s Chapel began at 6 p.m. and lasted about three hours. The church was full; there PERFORMERS was an estimated 1,000 people in the audience, a number that is even more remarkable considering the population of Boston at that time was about Anthony Trecek-King, host twenty-five thousand. There were 113 performers: 100 singers (90 men and 10 Joélle Harvey, soprano Reginald Mobley, countertenor women), 12 instrumentalists, and an organist. In addition to the “Hallelujah” Aaron Sheehan, tenor Chorus that concluded the concert, two arias, “I Know that My Redeemer Liveth” Sumner Thompson, baritone and “He Shall Feed His Flock,” and another chorus, “Lift Up Your Heads O Ye Gates,” from Messiah were performed. Handel and Haydn Society Orchestra and Chorus Ian Watson, conductor Three years to the day after its inaugural concert, Christmas Day 1818, H+H gave the first complete performance of Messiah in America. H+H has been performing Messiah in November or December since 1854; the oratorio concluded two-thirds PROGRAM of H+H’s 19th century music festivals and has been a fixture in H+H anniversary celebrations as well.
  • Handel and Haydn Society October 18 / 2:30 Pm Bing Concert Hall

    Handel and Haydn Society October 18 / 2:30 Pm Bing Concert Hall

    PROGRAM: HANDEL AND HAYDN SOCIETY OCTOBER 18 / 2:30 PM BING CONCERT HALL ARTISTS PROGRAM Handel and Haydn Society George Frideric Handel: Coronation Anthem No. 1, Zadok the Priest Harry Christophers, artistic director and conductor Antonio Vivaldi: Concerto for Two Violins in A Minor, op. 3, no. 8 Period Instrument Orchestra and Chorus Allegro Larghetto e spiritoso Allegro Aisslinn Nosky, leader and violin Susanna Ogata, violin Antonio Vivaldi: “Summer” from The Four Seasons Allegro mà non molto Adagio Presto Aisslinn Nosky, leader and violin George Frideric Handel: Coronation Anthem No. 3, The King Shall Rejoice INTERMISSION Johann Sebastian Bach: Singet dem Herrn ein neues Lied, BWV 225 George Frideric Handel: Part the Third from Messiah Margot Rood, soprano Emily Marvosh, contralto Stefan Reed, tenor David McFerrin, bass PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you. encoremediagroup.com 51 PROGRAM: HANDEL AND HAYDN SOCIETY A MUSICAL CELEBRATION 200 initially performed throughout the concert has remained a distinctive part of H+H’s YEARS IN THE MAKING season, which generally lasted from November history. In today’s performance of his or December to May or June, since 1854, H+H motet Singet dem Herrn ein neues Liede, On December 25, 1815, at 6:00 pm, the has performed Messiah annually in December. BWV 225, we will hear double chorus with Handel and Haydn Society opened its strings, an ensemble Bach used in motet inaugural concert at King’s Chapel with Part Handel’s Coronation Anthem No.