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The Academy of Ancient Music di 01.12.2009 The Academy of Ancient Music Messiah Concertzaal - 20.00 19.15 Inleiding door Ignace Bossuyt Biografieën The Academy of Ancient Music is een Michael Chance (contratenor) maakte we- klinkende naam in de wereld van de barok- reldwijd naam als mannelijke altstem in het en klassieke muziek – zoveel bewijzen het grote repertoire. Zijn operarollen reiken van concertpalmares en de meer dan 250 opna- de hoofdrol in Glucks Orfeo over Oberon in mes van het orkest sinds de oprichting door Brittens Midsummer Night’s Dream tot Christopher Hogwood in 1973. Het gedach- Orpheus in The Second Mrs Kong van tegoed van de historische uitvoeringsprak- Harrison Birtwistle. Geregeld worden nieuwe tijk is daarbij steeds een belangrijk credo werken voor Chance gecomponeerd, onder geweest. Sinds 2006 staat Richard Egarr aan meer door John Tavener, Tan Dun en zelfs het roer. Onder zijn impuls voltooide het Elvis Costello. Voor een recente cd met orkest onlangs een baanbrekende cd-reeks solocantates van Vivaldi (Deutsche Gram- met het volledige instrumentale oeuvre van mophon) werkte Chance samen met Trevor Händel, gepubliceerd onder opusnummers Pinnock en The English Concert. 1-7. De ‘AAM’ is in residentie aan de univer- siteit van Cambridge. James Gilchrist (tenor) was arts toen hij in 1996 het roer omgooide en aan een muzi- Richard Egarr is een van de meest veelzijdi- kale loopbaan begon. Zijn erelijst vertoont ge musici van vandaag. Hij bespeelt diverse een rijkdom aan concerten en recitals, met toetsinstrumenten in een rijkelijk gevarieerd een repertoire dat zich uitstrekt van Bach repertoire. Zijn klavecimbelstudie bij Gustav en Händel over Mozart, Schumann, Leonhardt heeft een grote invloed gehad Rachmaninov en Britten tot hedendaagse op zijn carrière in de oude muziek. Ook als composities. Als liedzanger werkt Gilchrist dirigent is Egarr een muzikale duizendpoot. regelmatig samen met de pianiste Anna Zo was hij gastdirigent bij barokensembles Tilbrook en de harpiste Alison Nicholls. In én symfonieorkesten. het Concertgebouw schitterde Gilchrist Sinds 2006 is hij muziekdirecteur van The vorig seizoen al in Haydns Schöpfung met Academy of Ancient Music. Vanwege zijn het Collegium Vocale Gent. charisma en communicatieve relatie met het publiek wordt hij ook wel eens de ‘Bernstein Christopher Purves (bas) studeerde van de oude muziek’ genoemd. Engels aan het King’s College in Cambridge, voordat hij ging optreden met de rock- Mhairy Lawson (sopraan) studeerde aan ’n-rollband Harvey and The Wallbangers. de Guildhall School of Music and Drama. Nadat de groep in 1988 werd stopgezet, Haar repertoire vertoont een duidelijk ging Purves zang studeren bij David Kerren, zwaartepunt in de barokperiode, met werk Diane Furlano en Janice Chapman. van Monteverdi, Händel, Hasse, Vivaldi en Vandaag concerteert hij met ensembles als uiteraard ook Bach. Als liedzangeres brengt The Sixteen, Gabrieli Consort en London Lawson echter ook werk van Haydn, Mozart, Sinfonietta, en zingt hij onder leiding van Schubert, Schumann en Wolf, naast liederen grote namen als Paul Goodwin, Sir Simon uit de Britse volkstraditie. Ze werkt regelma- Rattle en Marcus Creed. Purves’ repertoire tig samen met grote dirigenten, onder wie reikt van barokmuziek tot werk van heden- William Christie, Paul McCreesh and Sir John daagse componisten. Eliot Gardiner. The Academy of Ancient Music orkest en koor Richard Egarr dirigent Mhairi Lawson sopraan Michael Chance contratenor James Gilchrist tenor Christopher Purves bas Georg Friedrich Händel (1685-1759) Messiah HWV 56 (1741) Overture Chorus. Behold The Lamb Of God Recitative. Comfort Ye My People Aria. He Was Despised Aria. Every Valley Shall Be Exalted Chorus. Surely He Hath Borne Our Griefs Chorus. And The Glory Of The Lord Chorus. And With His Stripes We Are Healed Recitative. Thus Saith The Lord Chorus. All We Like Sheep Have Gone Astray Aria. But Who May Abide The Day Of His Recitative. All They That See Him, Laugh Him To Coming? Scorn Chorus. And He Shall Purify Chorus. He Trusted In God That He Would Recitative. Behold, A Virgin Shall Conceive Deliver Him Aria & Chorus. O Thou That Tellest Good Recitative. Thy Rebuke Hath Broken His Heart Tidings To Zion Arioso. Behold, And See If There Be Any Sorrow Recitative. For, Behold, A Darkness Shall Cover Recitative. He Was Cut Off Out Of The Land Of the Earth The Living Aria. The People That Walked In Darkness Aria. But Thou Didst Not Leave His Soul In Hell Chorus. For Unto Us A Child Is Born Chorus. Lift Up Your Heads, O Ye Gates Pastoral Symphony Aria. How Beautiful Are The Feet Of Them Recitative. There Were Shepherds Abiding In Chorus. Their Sound Is Gone Out Into All Lands The Field Aria. Why Do The Nations So Furiously Rage Recitative. And The Angel Said Unto Them Chorus. Let Us Break Their Bonds Asunder Recitative. And Suddenly There Was With The Recitative. He That Dwelleth In Heaven Angel Chorus. Hallelujah! Chorus. Glory to God Aria. I Know That My Redeemer Liveth Aria. Rejoice Greatly, O Daughter Of Zion Chorus. Since By Man Came Death Recitative. Then Shall The Eyes Of The Blind Be Recitative. Behold, I Tell You A Mystery Opened Aria. The Trumpet Shall Sound Aria. He Shall Feed His Flock Like A Shepherd Recitative. Then Shall Be Brought To Pass Chorus. His Yoke Is Easy, And His Burthen Is Duet. O Death, Where Is Thy Sting? Light Chorus. But Thanks Be To God Aria. If God Be For Us, Who Can Be Against Us? — Pauze — Chorus. Worthy Is The Lamb VOX Met Nederlandse boventiteling Händels Messiah: ‘And he shall reign for ever’ het grote publiek wel ‘doen’. Belangrijker is dat er nog steeds een misverstand heerst omtrent de functie van Händels oratoria. ‘Handel had happily introduc’d here Zij zijn namelijk niet bedoeld als religieuze Oratorios, a musical Drama, whose Subject of liturgische muziek voor uitvoering in de is Scriptural, and in which Solemnity of kerk (in tegenstelling tot de cantates en de Church-Music is agreeably united with passies van Bach), maar geconcipieerd voor the most pleasing Airs of the Stage.’ het theater, waar ook Händels Italiaanse (Uit het voorwoord bij de uitgave van opera’s werden gespeeld. De première van Händels oratorium Samson) Messiah had plaats in de Music-Hall in Dublin (1742), de eerste uitvoeringen in Londen Händels Messiah heeft zich in het collectieve in Covent Garden (1743) en King’s Theatre muzikale geheugen geprent als zijn populair- (1744). De meeste oratoria sluiten overigens ste oratorium, waarbij vooral enkele wijdver- aan bij de dramatische handeling van de spreide anekdotes de naam en faam van het opera, geschreven op een libretto, waarin de werk nog in de hand hebben gewerkt: personages in conflictsituaties verwikkeld zijn. De artistieke middelen zijn dezelfde als in de 1. Bij het triomfantelijke koor Halleluja zou- opera: ook het oratorium is structureel geba- den de Prince of Wales en zijn gemalin zijn seerd op de opeenvolging van recitatieven opgestaan. Of dit uit bewondering voor de (semplice of accompagnato) en aria’s. componist was, of uit ontzag voor dit mo- numentale koor, is nog steeds niet duidelijk. De nog wijdverspreide verkeerde visie over (Naar verluidt echter dacht het paar dat de Händels oratoria heeft vooral te maken met uitvoering was afgelopen!) het feit dat precies het zo populaire Messiah een uitzondering is. Het is niet opgevat als 2. Händel heeft Messiah gecomponeerd een muzikaal drama op een nieuw geschre- in iets meer dan drie weken tijd (tussen 22 ven, verhalend libretto, maar het is eerder augustus en 14 september 1741), kennelijk reflexief en contemplatief. De tekst bestaat een formidabele prestatie. Hoe is het moge- volledig uit Bijbelfragmenten uit het Oude lijk dat een componist dergelijke grandioze en Het Nieuwe Testament. Messiah reflec- muziek in zo korte tijd kan bedenken (en teert over Christus de Verlosser, maar zonder neerpennen)? Zo uitzonderlijk was die werk- Hemzelf ten tonele te voeren. Elk van de drie wijze niet: van een componist werd destijds delen belicht één centraal idee: verwacht dat hij constant nieuwe muziek ten - de geboorte van de Messias, die de mens tonele voerde. Händels vorige oratorium komt verlossen Israel in Egypt ontstond tussen 1 oktober en - de passie, de hemelvaart en Gods overwin- 1 november 1738. Ongeveer één maand – ning op de heidenen uiteraard intense – arbeid was de normale - het laatste oordeel en de ultieme verlos- duur voor de compositie van een opera of sing. een oratorium. Voor de rest past Messiah perfect binnen het Beide populaire anekdotes zeggen dan ook concept van het Engelse oratorium, waarvan niets over de (kwaliteit van de) muziek, het de creatie op naam van Händel mag ge- zijn randverschijnselen, die het echter bij schreven worden: het is zijn unieke bijdrage tot de West-Europese muziek. Er zijn ook vreugdevolle forte-uitroep (met trompetten) opmerkelijke verschillen met de Italiaanse van de inzet met de onmiddellijk volgende opera: geen vreemde, maar de eigen taal, rustige declamatie (piano) in het lage register een gevarieerder publiek (meer burgerij), een op ‘and peace on earth’. Stijgende of da- andere, overwegend Bijbelse thematiek, vaak lende melodische wendingen, een syllabi- met moraliserende (soms politiek geladen) sche of melismatische tekstzetting, trage of inslag, en een gewijzigde dramaturgie (geen snelle tempi, ‘duistere’ (mineur) of ‘heldere’ scenische voorstelling). Ingrijpend was vooral (majeur) tonaliteiten staan in functie van het ruime aandeel van het koor, dat optreedt een onmiddellijk vatbare tekstuitdrukking. als commentator of soms als actief ‘perso- Zo gebruikt Händel melismen op positief nage’ dat het verhaal voortstuwt. geladen woorden als ‘exalted’ en ‘rejoice’, en plaatst hij een traag tegenover een snel Händels inspiratiebron voor de koren was tempo in de aria But who may abide the day zowel de traditie van de Duitse protestantse of His coming. Die laatste begint immers als cantate en passie als de anglicaanse kerkmu- een larghetto, maar gaat over in prestissimo ziek, waartoe hij eveneens een belangrijke op de woorden ‘For he is as a refiner’s fire’.
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