DOCSLIB.ORG

Appreciating Gustav Leonhardt Friday, June 8, 2012 at 2:00 Pm Venetion Ballroom Berkeley City Club

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Appreciating Gustav Leonhardt Friday, June 8, 2012 at 2:00 Pm Venetion Ballroom Berkeley City Club Appreciating Gustav Leonhardt Friday, June 8, 2012 at 2:00 pm Venetion Ballroom Berkeley City Club Presented by Western Keyboard Association (WEKA) and MusicSources Program Orlando Gibbons (1583-1625) - Pavan Elaine Funaro Jan Pieterzoon Sweelinck (1562-1621) - Pavana Lachrimae Webb Wiggins Girolamo Frescobaldi (1583-1643) - Toccata Primo, Bk. II Lenora McCroskey Johann Jacob Froberger (1616-1757) Lamentation faite sur la mort très douloureuse de Sa Majesté Imperial Ferdinand III, et se joue lentement avec discrétion. An 1657. Tamara Loring Johann Sebastian Bach (1685-1750) - Aria from the “Goldberg Variations” BWV 988 Linda Burman-Hall Johann Sebastian Bach - Chromatic Fantasie, BWV 903 Elaine Thornburgh Johann Sebastian Bach - Trio Sonata from the “Musical Offering” BWV 1079 Largo Allegro Andante Allegro Stephen Schultz, flute Anthony Martin, violin Joshua Lee, viola da gamba Lisa Goode Crawford, harpsichord Louis Couperin (1626-1661) - Prelude and Chaconne in D Elisabeth Wright Jean-Henri D’Anglebert (1629-1691) - Prelude in D minor JungHae Kim J.H. D’Anglebert - Tombeau de Chambonnières Lisa Goode Crawford Armand-Louis Couperin (1727-1789) - L’Arlequine ou la Adam/Rondeau La Chéron/La Blanchet Charlotte Mattax Moersch Antoine Forqueray (1671-1745) [arr. Jean-Baptiste Forqueray (1699-1742)] - La Leclair Jillon Stoppels Dupree List of American harpsichordists and organists or those who now teach in America who once studied with Leonhardt in the Netherlands. John Fesperman 1955 - 56 Glen Wilson 1971 - 75 Alan Curtis 1957 - 59 Ed Parmentier 1975 James Weaver 1957 - 59 Rhona Freeman 1975 - 77 Leonard Raver 1958 - 60 Tamara Loring 1975 - 77 Clyde Holloway 1959 - 60 Beverly Biggs 1976 Thomas Spacht 1959 - 60 Martha Cook 1976 Bill Tinker 1959 - 60 Carl Fudge 1961 - 62 Frances Fitch 1976 - 79 Nina Key-Campbell 1961- 63 Linda Burman-Hall ±1978 - ±1985, every Anthony Newman 1962 - 63 Winter break John Turnbull 1962 - 63 Charlene Brendler 1979 James Tallis 1963 - 64 Bruce Alan Brown 1979 - 80 Larry Palmer (Haarlem Summer Academies) Jillon Stoppels Dupree 1979 - 81 1964, 1967 Deborah Brown 1980 Lisa Goode Crawford 1965 - 66 Karyl Louwenaar 1980 R. Peter Wolf 1965 - 66 Elaine Funaro 1980 - 1981 Laurette Goldberg 1965 - 66 Elaine Thornburgh 1980,1982 Marion Anderson 1965 - 66 Davitt Moroney 1981 Kenneth Dorsch 1967 - 68 Douglas Amrine 1981 - 1982 John Gibbons 1967 - 68 Jeanne Jennings 1981 - 1982 Jean Nandi 1967 - 68 Skip Sempé 1981 - 82 Martin Pearlman 1967 - 68 Charlotte Mattax 1982 - 83 Fred Renz 1967 - 68 Webb Wiggins 1983 - 84 Dale Carr 1967 - 69 Kenneth Weiss 1986 - 87 David Boe 1968 Patrick Allen 1988 - 89 Lenora McCroskey 1968 - 69 Gretchen Elicker Dekker 1989 - 91 Paul Jenkins 1969 Jeannette Sorrell 1990 - 91 Elisabeth Wright 1970 - 73 Yuko Tanaka 1993 Robert Hill 1970 - 74 JungHae Kim 1993 - 1994 Remembering Gustav Leonhardt of rhythmic nuance, is more important on the harpsichord than on any other instrument, and By Alan Curtis that Leonhardt is the person who first made us all aware of this fact, and who was able, better I first read the name Gustav Leonhardt in than anyone I have ever heard, to demonstrate it. 1955 on the LP record jacket of Alfred Deller’s recording of Elizabethan and Jacobean Music. Jim Weaver and I also had the good fortune I think it was Deller’s first recording to be to arrive at the Amsterdam conservatory distributed in the US, and it was, for many of the very year that they purchased one of the us, an initiation into the previously unknown earliest ‘historically informed’ versions of an world of the countertenor and the notion of 18th-century harpsichord (a Rueck copy of “Baroque singing”. But it seemed to me that the a Graebner). It was also then that Leonhardt harpsichordist on that recording was every bit as “discovered” Skowroneck as a harpsichord and shockingly new and revolutionary as the singer. recorder maker and Ahrend and Brunzema I don’t think I knew then what “articulation” at as makers and restorers of organs, a discovery the keyboard was, but I could hear it, for the first that he, of course, shared with us. I placed an time, on that LP. Of course not everyone felt as order with Skowroneck immediately, and by the I did, and my fellow student at the University time my studies were completed it was ready of Illinois, Sterling Jones, gave me a disc he was to return, with me, to the US (I later sold it to about to throw away (be preferred Landowska) the University, who foolishly then sold it to a of Leonhardt playing the Goldberg Variations dealer from whom it was fortunately salvaged by on a Neupert (not, of course, Leonhardt’s Skip Sempé). When I accepted an offer to join preferred instrument, but there was at the time the faculty at UC Berkeley, I drove it across the no alternative). That did it. I decided I had to country, packed into an old Plymouth station study with him, and I convinced my friend Jim wagon, arriving in Berkeley in late August, Weaver to do the same, in 1957-59. We were 1960. I remember Laurette Goldberg calling not his first American students, though I know me that same autumn for advice about buying a of only one prior: John Fesperman. How lucky harpsichord. She had never heard of Leonhardt, we were to benefit from the generous free time and like everyone else, had also never heard of that he was able and willing to give students Skowroneck. So she bought a Neupert, which in those days. It was also a time of exciting she later much regretted. I’m not quite sure exploration and experimentation. Those who when she “came around”, but I think it didn’t know Leonhardt only from later years will be take long. And of course it helped that I was surprised to learn that when I proposed to study able, with the backing of Prof. Lawrence Moe, a Louis Couperin unmeasured prelude with to invite for the CAL performances series both him, he at first refused to hear it, saying only “ Leonhardt and the Concentus Musicus (their the notation prevents us today from knowing first time in the US!). Larry was not alone how it was performed then.” He later consented in helping me diffuse the new “early music” to listen to my rendition and, still later, even to movement in the Bay Area, and I had a lot of give me his comments. But it was only quite a help from other colleagues, including Professors few years later that he began to play these pieces Heartz and Kerman. I think it was at a dinner in public, with ever more conviction. One of with Joe Kerman, after I played him a recent the last things I heard him play, last year, was an recording, that the idea came up to invite unmeasured prelude, and I remember feeling Leonhardt for a Froberger Festival which, if I that EVERY NOTE was placed with exactly remember correctly, included three sublime the most appropriate split-second timing. I feel concerts by the master, plus some master classes, that timing, in the sense of when exactly you and of course dinner parties, though it was only play a note and when you release it, in a context later (I believe in Texas) that I’m told Leonhardt astonished a waitress by ordering a “Fro-burger.” died and left him a Tiepolo drawing, and who had just acquired an Italian-style cembalo. He Those who only came to know him later may obligingly improvised on it, at her request. After also be astonished to learn of the breadth of his one spectacular “sonata”, she exuded “Dass interests when he was younger. Many people MUSS doch eine Sonate von Scarlatti sein.” think he ignored the 19th and 20th centuries (Surely that MUST be a Scarlatti sonata!). He and in some ways that’s true. We were standing replied “Dass kann sein, ich kenne sie nicht alle.” in the garden I designed for him (in Baroque (It could be, I don’t know them all.) style) at the rear of the magnificent Bartolotti canal mansion on the Herengracht that he However, the greatest, most enduring passion rented from about 1970, where his wife Marie of his life was not music at all, but collecting. still lives. The Westerkerk carillon began to play He owned a painting or two, but furniture and the Habanera from Carmen. We both laughed objets (porcelain, Delftware, silver etc.) were but to my amazement he did not know the piece, his field. If one disregards royal and other and only laughed at its inappropriateness. Yet longstanding family collections, his is perhaps when one day, visiting a museum, we happened the most extraordinary private collection on a playable piano of about 1840, he improvised formed in the past half-century and still a perfectly convincing “Fantasiestuck” in the extant. He never invested in real estate, but style of Schumann (whose music he disliked: his collection is worth millions, and reflects a “Schubert was a good composer in a bad period. highly refined and personal taste along with Schumann was a bad composer.”) He admired extraordinary connoisseurship and good the paintings of Cezanne and loved the short business sense. He recently confessed to me that stories of Somerset Maughm and the novels of when I spoke to him years ago about Magnasco, Thomas Mann, especially Felix Krull. While he didn’t know who I was talking about, and studying with him I asked my parents to send I confessed that when he gave me a catalogue me for Christmas the new recording by Robert of the works of Jamnitzer, I had never heard of Craft of the complete works of Anton Webern.
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Johann Sebastian Bach Du Treuer Gott Leipzig Cantatas BWV 101 - 115 - 103
    Johann Sebastian Bach Du treuer Gott Leipzig Cantatas BWV 101 - 115 - 103 Collegium Vocale Gent Philippe Herreweghe Johann Sebastian Bach (1685–1750) Nimm von uns, Herr, du treuer Gott, BWV 101 Mache dich, mein Geist, bereit, BWV 115 Ihr werdet weinen und heulen, BWV 103 Dorothee Mields Soprano Damien Guillon Alto Thomas Hobbs Tenor Peter Kooij Bass Collegium Vocale Gent Philippe Herreweghe Menu Tracklist ------------------------------ English Biographies Français Biographies Deutsch Biografien Nederlands Biografieën ------------------------------ Sung texts Johann Sebastian Bach (1685-1750) Nimm von uns, Herr, du treuer Gott, BWV 101 [1] 1. Coro: Nimm von uns, Herr, du treuer Gott ______________________________________________________________7’44 [2] 2. Aria (tenor): Handle nicht nach deinen Rechten ________________________________________________________3’30 [3] 3. Recitativo e choral (soprano): Ach! Herr Gott, durch die Treue dein__________________________________2’13 [4] 4. Aria (bass): Warum willst du so zornig sein? ___________________________________________________________ 4’14 [5] 5. Recitativo e choral (tenor): Die Sünd hat uns verderbet sehr _________________________________________ 2’11 [6] 6. Aria (soprano, alto): Gedenk an Jesu bittern Tod _______________________________________________________5’59 [7] 7. Choral: Leit uns mit deiner rechten Hand _______________________________________________________________0’55 Mache dich, mein Geist, bereit, BWV 115 [8] 1. Coro: Mache dich, mein Geist, bereit ____________________________________________________________________4’00
    [Show full text]
  • Common and Noteworthy Instruments from 1750S-1800S' Eastern
    Common and Noteworthy Instruments from 1750s-1800s’ Eastern USA Emory Jacobs Faculty Sponsor: Dr. Scott Marosek Department of Music During the 1700s and 1800s, residents of the eastern seaboard of North America enjoyed a wide variety of instruments, many of them built for “contrast and variety.”1 Availability, on the other hand, was a different story. While few accounts of the musical scene in that time period exist for more rural settings, records of the area and the events of the period from 1750 through the 1800s paint an interesting picture of how specific social classes and needs determined an instrument’s popularity. At the time, instruments were highly controversial, especially among specific religious groups.2 The religious restrictions on music occurred in relatively isolated sub- cultures in America, whereas notable sources from Germany would spend a novel’s worth of pages praising how perfect the organ was and would carefully list the detail of instruments’ tuning, mechanisms, and origins.3 When comparing these European instrument lists or collections with confirmed colonial instruments, one finds that very few of the elaborate, most prized instruments were exported to North America. Even outside America’s religious institutions, instruments were sometimes considered profane.4 While some instruments and some musical styles escaped such stigma, other instruments and styles had more ominous ties or were considered inelegant; the violin and fiddle offer one illustration.5 The phenomenon suggests that American society’s acceptance of music may have been a sensitive or subtle affair, as the difference between the violin and fiddle is often described as the fiddle being a poorly crafted violin or, in some cases, as a different musical style performed on the violin.
    [Show full text]
  • Sala Margolín, El Cierre De Un Espacio Emblemático
    Revista de la Academia de Música del Palacio de Minería • Otoño de 2012 Número 6 Sala Margolín, el cierre de un espacio emblemático Fotos de la Testimonios, recuerdos, evocaciones Temporada La Cuarta Sinfonía 2012 de Sibelius El arte musical de Arturo Márquez Una semblanza de Dietrich Fischer-Dieskau Entrevista con cuatro músicos de la Orquesta Sinfónica de Minería 1 pág. El cierre de la emblemática Sala Margolín, por Arturo Soní Cassani. Imágenes proporcionadas por Luis Pérez Santoja. Testimonios de Lucrecia Arcos. El arte musical de Arturo Márquez, por Theo Hernández. Entrevista con cuatro músicos de la OSM: Janet Paulus, arpista (principal); Pastor Solís, Segundo Violín (principal), Francisca Ettlin, corno inglés (principal) y Manuel Hernández, contrafagot (principal),por Fernando Fernández. Imágenes de los conciertos de la Temporada 2012 de la Orquesta Sinfónica de Minería, por Lorena Alcaraz. Una semblanza de Dietrich Fischer-Dieskau, por Mario Saavedra. Un soneto de Leopoldo Lugones sobre Juventino Rosas, por Fernando Fernández. Entrevista con François Weigel, piano, y Thomas Bloch, Ondas Martenot, sobre Olivier Messiaen, por Sergio Vela. La Cuarta Sinfonía de Sibelius, por Juan Arturo Brennan. El instrumento invitado, El violonchelo, por Miguel Zenker. De Kurt Weill al narcocorrido, por Jacobo Dayán. Entrevista con Sarita Hernández, bibliotecaria de la OSM. Recomendaciones discográficas por Jorge Terrazas y de Allende. Una estrella en ascenso, por Gilberto Suárez. Calendario del programa La ópera en el tiempo de Sergio Vela en Opus 94.5 de FM. Humor. Violas. Cartón de Ros. Noticias, por Gilberto Suárez Baz. 1 Hace unos cuantos meses se corrió por última vez la reja que daba acceso a Sala Margolín, un oasis cultural en Córdoba 100 (casi esquina con Álvaro Obregón) en la colonia Roma de la Ciudad de México.
    [Show full text]
  • Bach & Baroque Virtuosity
    Byron Schenkman Friends dec Bach & 27 Baroque Virtuosity Rachell Ellen Wong u violin Andrew Gonzalez u violoncello da spalla Byron Schenkman u harpsichord Antonio Vivaldi u 1678 - 1741 Sonata in B-flat Major, RV 47 Largo Allegro Largo Allegro Élisabeth Jacquet de la Guerre u 1665 - 1729 Suite no. 2 in G Minor Prélude Allemande Courante Courante Sarabande Gigue Gigue Menuet Jean Marie Leclair u 1697 - 1764 Ciaccona from the Sonata in G, op. 5, no. 12 Johann Sebastian Bach u 1685 - 1750 Partita in D Minor, BWV 1004 Allemanda Corrente Sarabanda Giga Ciaccona Thomas Balzar u 1630 – 1663 & Davis Mell u 1604 – 1662 Divisions on “John Come Kiss Me Now” Byron Schenkman Friends 8th Season u 3rd Concert u Bach & Baroque Virtuosity www.byronandfriends.org notes on the program By Byron Schenkman Johann Sebastian Bach’s Sonatas and Partitas for As the violin became increasingly fashionable in early unaccompanied violin are large scale works which 18th-century France, French virtuosi such as Jean- transcend the possibilities one would expect from a Marie Leclair brought a distinctly French flavor to the small instrument with just four strings and a bow. In Italian sonata form. Like many of the great French writing these masterworks Bach drew on diverse styles violinists, Leclair was also a dance master and the for inspiration, including music by contemporary ciaccona which concludes his Sonata in G Major, op. Italian violinists and French harpsichordists. 5, no. 12, is a joyful tribute to the dance. While the violin and the harpsichord are well known J. S. Bach’s Partita in D Minor begins with the four instruments of the Baroque era, the violoncello da standard movements of a French suite and concludes spalla (cello of the shoulder) is an unusual Baroque with a ciaccona of monumental proportions.
    [Show full text]
  • A Chinese Clarinet Legend Also in This Issue
    Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017.
    [Show full text]
  • 4 Classical Music's Coarse Caress
    The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.
    [Show full text]
  • Neue Bach-Ausgabe of 1969, 152 – 32 Pages Fewer Than Bärenreiter
    Early Music Review EDITIONS OF MUSIC have been rejected. What Bach is concerned with is the total length, not so much as individual pieces but groups J. S. Bach Complete Organ Works vol.8: of pieces (e.g. the first 24 preludes and fugues) and the idea is most lengthily shown in the B-minor Mass. The Organ Chorales of the Leipzig Manuscript “18” is a dubious choice because nos. 16-18 were written Edited by Jean-Claude Zehnder. after the composer’s death. I wonder whether the first Breitkopf Härtel (EB8808), 2015. & piece in the collection, Fantasia super Komm, Heiliger 183pp + CD containing musical texts, commentary & Geist, was expanded from 48 to 105 bars as the quickest synoptical depiction. €26.80. way to complete the round number. The total bars of any individual chorale is only relevant to the total, and the bought the Bärenreiter equivalent (vol. 2) back in 1961, only round sum covers BWV 651-665. It does seem an three years after it was published. Bach evidently was odd concept and I can’t take it seriously – the 1200 bars I expecting to produce a larger work than the six Organ do not help guess how to fit such a length into CD discs. Sonatas, assembled around 1730; he then waited a decade But that Bach wrote “The 15” rather than “The 18” could, before moving on around 1740, using the same paper. He even without a total bar count, suggest that BWV 666-668 copied 15 pieces, then had a break. BWV666 and 667 were should be left as an appendix.
    [Show full text]
  • Collegium Vocale Gent Olv
    muziek Koor en Orkest Collegium Vocale Gent olv. Philippe Herreweghe vr 23 & za 24 mrt 2018 / Grote podia / Blauwe zaal 20 uur / pauze ± 20.40 uur / einde ± 22.20 uur inleiding za 24 mrt 2018 / Rudy Tambuyser / 19.15 uur Blauwe foyer 2017-2018 Bach & Hoogdagen Ensemble 1700 olv. Dorothee Oberlinger blokfluit di 28 nov 2017 Le Concert Lorrain & Dresdner Kammerchor olv. Christoph Prégardien wo 20 dec 2017 Barokorkest B’Rock & Vokalconsort Berlin olv. Benjamin Bayl vr 22 dec 2017 Koor & Orkest Collegium Vocale Gent olv. Philippe Herreweghe vr 23 & za 24 mrt 2018 Barokorkest B’Rock & Balthasar Neumann Chor olv. Ivor Bolton wo 9 mei 2018 teksten programmaboekje Rudy Tambuyser coördinatie programmaboekje deSingel Koor en Orkest Collegium Vocale Gent D/2018/5.497/38 Philippe Herreweghe muzikale leiding Maximilian Schmitt tenor (Evangelist) Krešimir Stražanac bas (Jesus) Dorothee Mields sopraan Damien Guillon contratenor Robin Tritschler tenor Peter Kooij bas Johann Sebastian Bach (1685-1750) Johannes-Passion, BWV245 (1724) Gelieve uw GSM uit te schakelen Cd-verkoop Bij onze concerten worden occasioneel cd’s te koop aangeboden door De inleidingen kan u achteraf beluisteren via La Boite à Musique / Coudenberg 74 / Brussel / +32 www.desingel.be (0)2 513 09 65 / www.classicalmusic.be Selecteer hiervoor voorstelling / concert / tentoonstelling van uw keuze. Concertvleugels Met bijzondere dank aan Ortwin Moreau voor het stemmen en het onderhoud van de Grand café deSingel drankjes / hapjes / snacks concertvleugels van deSingel uitgebreid tafelen / open alle dagen: 9-24 uur Moreau Pianoservice / Kapucinessenstraat 32 / 2000 informatie en reserveren: +32 (0)3 237 71 00 of Antwerpen / +32 (0)486 83 63 98 www.grandcafedesingel.be www.moreau-pianoservice.be Bachs Johannespassie Irdisches Vergnügen in Gott Op Goede Vrijdag van het jaar 1749 dirigeerde Johann Sebastian Bach voor het laatst zijn Johannespassie in Leipzig, de stad waar hij sinds 1723 cantor was aan de befaamde Thomasschool en -kerk.
    [Show full text]
  • Brochure Cvg 2019-2020
    COLLEGIUM 2019–2020 VOCALE ARTISTIEK DIRECTEUR GENT PHILIPPE HERREWEGHE COLLEGIUM VOCALE GENT SEIZOEN 2019 | 2020 1 INHOUD Voorwoord 04 Bach Educatief 10 Linzer Mis 12 Einstein on the Beach 14 De Blinden 18 Kanon Pokajanen 22 Schicksalslied 24 Verspro della Beata Vergine 26 Weihnachts-Oratorium 28 50 jaar Collegium Vocale Gent 30 Bach Academie Brugge 32 Die Schöpfung 40 Johannes-Passion 42 Matthäus-Passion 44 Dolcissima mia vita 46 Faust Szenen 48 Zomerfestivals 53 In residentie 55 New releases 56 Vrienden 57 Mecenaat 58 Contact 61 VOORWOORD Beste Lezer, Wanneer U deze folder in de hand zal nemen, staan we met Collegium Vocale Gent aan de vooravond van een wel erg bijzonder seizoen. In 2020 vieren we namelijk onze 50e verjaardag! Het was immers in september 1970 dat Philippe Herreweghe startte met de eerste repetities en concerten van Collegium Vocale Gent. Wie had kunnen denken dat deze haast uit de hand gelopen studentenhobby 50 jaar later is uitgegroeid tot één van de meest tot de verbeelding sprekende muziekgezelschappen van het ogenblik voor de uitvoering van vocale klassieke muziek?! We hebben alvast een hele reeks, bijzondere projecten uitgewerkt om deze halve eeuw uitvoerig te vieren, maar meer hierover zal u later uitgebreid in onze aparte brochure kunnen lezen die integraal over dit feestjaar zal gaan. Ondertussen hebben we echter nog een heleboel andere programma’s in het verschiet tijdens de eerste helft van het seizoen om naar uit te kijken. Of wat dacht u van de uitvoering van de bijzonder mooie Mis in e voor blazers en koor van Anton Bruckner in de loop van de maand september, het enigma- tische Kanon Pokajanen van Arvo Pärt onder leiding van de Letse dirigent Kaspars Putnins in oktober, de herneming van de succesvolle productie met 04 de Mariavespers van Claudio Monteverdi in november (en die ons onder meer naar China en Zuid-Korea zal brengen) of de integrale uitvoering van het Weinachts-Oratorium van J.S.
    [Show full text]
  • Rotem Gilbert to Conduct
    February 2018 • Volume XXXXIV • Number 6 2017–2018 Officers Our next meeting of the 2017–2018 season is President Win Aldrich Friday, February 9, 2018 [email protected] Meeting: 7:30 pm 909-625-7722 Trinity Episcopal Church Vice President, Membership 2400 Canal Street in Orange, California Development Open—looking for volunteers Vice President Hospitality Rotem Gilbert to Conduct Jim Forrest Recorder player Rotem Gilbert is a native of [email protected] Haifa, Israel and a founding member of 626-333-3443 Ciaramella, an ensemble specializing in music of Secretary/Newsletter the 15th and 16th centuries. Ciaramella has Open—looking for volunteers performed throughout the United States, in Treasurer Belgium, Germany, and Israel, and released a Susan Mason CD on the Naxos Label, and two recordings [email protected] with Yarlung Records. Their recent CD Dances 949-733-3397 on Movable Ground has earned 5 stars by the Workshop Program British magazine Early Music Today and was picked the Win Aldrich, Coordinator Editor’s Choice, lauded for its “expressive fluidity and [email protected] rhythmic vitality”. She was a member of Piffaro (1996-2007), 909-625-7722 and has appeared with many early music ensembles in the Gloria Martin United States and in Europe. Rotem has been featured as a [email protected] soloist for the Pittsburgh Opera, the LA Opera, Musica Angelica 909-626-5001 and the LA Phil. After studies on recorder at Mannes College of Lee Waggener [email protected] Music in New York with Nina Stern, she earned her solo 909-624-0236 diploma from the Scuola Civica di Musica of Milan where she Bill Waggener studied with Pedro Memelsdorff.
    [Show full text]
  • September 2016 – July 2017
    SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music.
    [Show full text]