Spring 16 Draft 1

Total Page:16

File Type:pdf, Size:1020Kb

Spring 16 Draft 1 Friends of Florilegium President ~ Dame Emma Kirkby OBE Honorary Vice Presidents ~ David Hill and Sir David Lumsden June 2016 – culmination of Florilegium’s 25th anniversary Ashley Solomon writes: and we are delighted to be working with We repeat our Brandenburg Concertos him that month. David Hill, personally, in the lovely Kent setting of Stour Music, Florilegium’s first concert was given in has been working with Florilegium for 20 an annual festival run by Mark Deller London in July 1991, and plans have years, starting with his former choir, The (son of the late great countertenor been underway for some time for the Waynflete Singers in Winchester, with Alfred Deller) and are delighted to be 25th anniversary concert, which will be whom Florilegium still regularly perform, returning to this festival after a number of held in London’s Wigmore Hall on Friday and for the last 15 years Florilegium has years. 3 June 2016. This will be a performance provided an orchestra for The Bach of the complete Bach Brandenburg Choir’s annual St Matthew Passion at the The final two concerts in June will again Concertos, and will be followed by an Royal Festival Hall. be a return to a festival, working with a appropriate Reception. festival Director we have had a good Four days later sees our return to the relationship with over some years, the However, this is just the first of six National Trust property, Hatchlands Park. Scottish composer Alasdair Nicolson, at concerts that month and we are very Three members of Florilegium have St Magnus Festival, Orkney. The last time pleased to be working with some old performed there for the last few seasons, we were in St Magnus we took our and valued associates during this time though I take my students from the Bolivian choir, Arakaendar Bolivia Choir, – and we don’t just mean the players! Historical Performance faculty of the but this time the first of two concerts we Two days after the Wigmore Hall Royal College of Music there regularly. will perform there will be Purcell’s ‘Dido concert sees our return to the Royal and Aeneas’. I will again direct this Festival Hall, London, to provide an performance, as I did for Alasdair, when orchestra for The Bach Choir’s Ashley, he was Director of the Bath International performance of Bach’s Mass in B Minor. Terence Music Festival in 2013, but this time we The Choir’s conductor, David Hill, has and Reiko in will swap the steaming Roman Baths for rehearsal at been a long-time supporter of Hatchlands St Magnus Cathedral. Florilegium (he is an Honorary Vice- Park, June President of the Friends of Florilegium) 2015. Please support Florilegium; become a Friend! Ashley Solomon records on period flutes Florilegium is acclaimed worldwide for its As mentioned overleaf, in the evenings College of Music, and he agreed to performances and recordings. However following the Florilegium Telemann purchase it for the RCM’s Museum, once the group receives no public funding; its sessions, Ashley started recording Ashley had done this recording. finite resources comprise ticket revenue Telemann’s 12 Fantasies for solo flute, and the committed generosity of its loyal which were composed sometime About four weeks later Ashley had an supporters. between 1728-1733. On those evenings exciting visit to Marlborough House where he was able to record on a rare, period, he met the keeper of the Royal We are very grateful to our Friends and ivory flute and he recorded three of the Collection. He was shown a Meissen flute hope you will consider joining them. Fantasies on this instrument. Ashley first from 1760, which had been given to From £30 per annum – roughly the cost of a saw and played it in 2014 when it was George III probably by Frederick the concert ticket – you could become a owned by a private individual, who had Great, which George played when he Friend of Florilegium. found it in his was convalescing in Kew in 1789. They possession. kindly agreed to allow him to record Florilegium prides itself on a close relationship with its audiences, Ashley then some more of the solo fantasies on this FREE expressed through CD! had a instrument for this solo CD. In addition, Friends of Florilegium. Friends’ discussion they will in due course discuss the idea of benefits and privileges include: with Ashley recording a CD for their shop, Professor which may be followed by recital in • a free copy of Florilegium’s limited Colin Lawson, Director of the Royal Buckingham Palace. edition compilation CD • a regular Newsletter • priority booking for certain concerts Florilegium promoted by Florilegium Director ~ Ashley Solomon • complimentary or discounted CDs as 21 Village Road they are released London N3 1TL • social events providing opportunities to Tel : +44 (0) 20 8346 2896 meet the members of Florilegium Email : [email protected] Website : www.florilegium.org.uk Director’s Circle members Friends of Florilegium supports • receive free CDs on release The Florilegium Trust • are acknowledged in Florilegium’s Registered charity 1060443 concert programmes SPRING 2016 • are invited to attend rehearsals DATES FOR YOUR DIARY A busy period So, instead of launching into a recording Thur Holy Trinity Church, London SW7 session on the Tuesday (1 December), 28 Jan Handel, Vivaldi, Locatelli etc Florilegium work tends to be one-off, or the day commenced with the rehearsal, for Imperial College maybe pairs, of concerts but the end of postponed from the previous afternoon. November/early December was a very The rest of that day was rearranged, but Fri Royal College of Music, London busy ten days. by the end of that day the recording 29 Jan 18th century coaching session was back on track. The following two It started on the Monday (23 November) days consisted of two recording sessions Sun Kings Place, London with an afternoon rehearsal for the for Channel Classics, of the new 31 Jan Benda, CPE Bach, JS Bach, concert that Wednesday, followed in the Telemann CD, which the group are Quantz evening with a rehearsal for recording making as their 25th anniversary London Chamber Music Series sessions, and Tuesday repeated that recording. pattern. Wednesday was the concert Fri Royal College of Music, London day, one of just two concerts the group In case you think that that wasn’t busy 12 Feb 18th century coaching session gives each year at London’s Wigmore enough, Ashley recorded solo on each Hall, this one with the wonderful baritone of these three evenings, playing a rare Sun Kings Place, London Roderick Williams (who had had to cut original 18th century flute, which 14 Feb Leclair, Telemann, Rebel short his original rehearsal the day before couldn’t be played on for more than 1 (with Mary Colllins, baroque as he was needed for a concert at or 1½ hours, as any longer could dancer) Buckingham Palace!). Thursday and damage the fragile instrument. Friday were free, but on the Saturday BBC Radio 3 also played their part in this Fri Royal College of Music, London Florilegium provided an orchestra for the period, by broadcasting a lunchtime 19 Feb 18th century coaching session Wimbledon Choral Society’s concert the group gave at LSO St Luke’s performance of Bach’s Christmas in October, as well as Ashley’s recording Fri Assembly Rooms, Bath Oratorio (4 of the 6 parts), performed to of CPE Bach’s solo flute sonata, CPE 19 Feb Bach, Vivaldi, Telemann a sold-out Southwark Cathedral. Bach being their ‘Composer of the Bath Bachfest Week’. On the Monday there was another Thur Royal College of Music, London rehearsal for the recording scheduled, 3 Mar 18th century coaching session this time in the recording venue, St Michael’s Highgate, where Florilegium Fri Royal College of Music, London hasn’t been worked for a number of 4 Mar 18th century coaching session years. This was to include the mezzo Clare Wilkinson. However, her Eurostar Sat St Andrew's & St George's West, that morning was cancelled and after 12 Mar Edinburgh she spent a lot of time rearranging her ‘Towards the Enlightenment’ travel, as we did the schedule, she Georgian Concert Society eventually arrived in London late that evening. Rehearsing before the LSO St Luke’s concert, February 2015 Sun Royal Festival Hall, London 20 Mar Bach: St Matthew Passion A trip down memory lane… NEXT WIGMORE HALL CONCERT Fri St Mary’s Church, Beverley Fri Florilegium’s 25th anniversary 27 May JC Bach, CPE Bach, Leclair For those of you who have followed 3 June concert Beverley Early Music Festival Florilegium for a number of years, here’s at Bach: Brandenburg Concertos a photo that will bring back memories. 7.00pm (complete) Fri Wigmore Hall, London In April 2015 on a trip to Australia, Ashley 3 June Florilegium’s 25th anniversary performed in Sydney conservatory with TICKETS AVAILABLE FROM 5 FEB concert two of its professors, Neal Peres da wigmore-hall.org.uk Bach: Brandenburg Concertos Costa (harpsichord) and Daniel Yeadon (cello), two of the original members of Sun Royal Festival Hall, London Florilegium who left in 2001, to move to 5 June Bach: Mass in B Minor Australia. However, they have been here more recently – they were special Thur Hatchlands Park, nr Guildford guest performers with Florilegium in the 9 June Couperin, Bach, Abel etc 20th anniversary concert at Wigmore Hall in July 2011. Sun All Saints’, Boughton Aluph 19 June Bach: Brandenburg Concertos Stour Music Tue St Magnus Cathedral, Kirkwall 21 June Purcell: Dido and Aeneas Florilegium on Twitter St Magnus Festival You can follow Florilegium via Twitter.
Recommended publications
  • The Bach Choir Commissions Ten Composers This Season, Including Richard Blackford & Gabriel Jackson at the Royal Festival Hall
    The Bach Choir commissions ten composers this season, including Richard Blackford & Gabriel Jackson at the Royal Festival Hall Sunday 24 October 2021, 15:00 Royal Festival Hall Gabriel Jackson The Promise WORLD PREMIERE Tallis Hymn Vaughan Williams Fantasia on a Theme by Thomas Tallis Richard Blackford Vision of a Garden WORLD PREMIERE Fauré Cantique de Jean Racine Fauré Requiem The Bach Choir | David Hill conductor | Philharmonia Orchestra Katy Hill soprano | Gareth Brynmor John baritone ★★★★★ “I have to keep reminding myself that these people are amateurs: I can’t imagine a professional choir giving a more perfect and passionate performance.” The Independent on the Choir’s performance of Bach’s B Minor Mass, February 2020 As they return to live music-making after a year and a half of silence, The Bach Choir and Music Director David Hill announce the premieres of ten newly-commissioned contemporary choral works. Three of the works to be performed this season use texts written by members of the Choir, including the Royal Festival Hall premiere of Richard Blackford’s covid-inspired cantata setting the medical diaries of a Choir member who spent three months in intensive care, and a climate-change inspired commission from Gabriel Jackson. This July, the Choir announces a call for scores for the Sir David Willcocks Carol Competition to premiere two new carols at Cadogan Hall, and heads to the studio to record six newly-commissioned chorales from award-winning young composers in its Bach Inspired project. The Bach Choir, David Hill and the Philharmonia Orchestra are joined at the Royal Festival Hall on 24 October 2021 by soprano Katy Hill and baritone Gareth Brynmor John for a post- COVID programme of music for reflection and hope including the world premiere of Richard Blackford’s Vision of a Garden, based on the COVID diaries of The Bach Choir member Peter Johnstone, who spent three months in intensive care with the virus in Spring 2020.
    [Show full text]
  • 74Th Baldwin-Wallace College Bach Festival
    The 74th Annual BALDWIN-WALLACE Bach Festival Annotated Program April 21-22, 2006 Save the date! 2007 75th B-W BACH FESTIVAL Friday, Saturday, and Sunday April 20–22, 2007 Including a combined concert with the Bethlehem Bach Choir, celebrating its 100th Festival, in Severance Hall. The Mass in B Minor will be featured. Check our Web site for details www.bw.edu/bachfest Featured Soloists presented with support from the E. Nakamichi Foundation and The Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil BALDWIN-WALLACE COLLEGE SEVENTY-FOURTH ANNUAL BACH FESTIVAL THE OLDEST COLLEGIATE BACH FESTIVAL IN THE NATION ANNOTATED PROGRAM APRIL 21–22, 2006 DEDICATION THE SEVENTY-FOURTH ANNUAL BACH FESTIVAL IS RESPECTFULLY DEDICATED TO RUTH PICKERING (1918–2005), WHO SO LOVED MUSIC, THE BALDWIN-WALLACE COLLEGE BACH FESTIVAL AND CONSERVATORY CONCERTS, THAT SHE AND HER LATE HUSBAND, DON, HAD THEIR NAMES ENGRAVED ON BRASS PLAQUES AND AFFIXED TO THEIR FAVORITE SEATS, DD 24 AND DD 25, IN THE BALCONY OF GAMBLE HALL, KULAS MUSICAL ARTS BUILDING. SHE WILL BE REMEMBERED WITH MUCH LOVE BY MANY FROM THIS COMMUNITY, IN WHICH SHE WAS SO ACTIVE. Third Sunday Chapel Series at Baldwin-Wallace College Lindsay-Crossman A concert series under the direction of Warren Scharf, Margaret Scharf, and Nicole Keller 2006-2007 Concert Schedule Third Sundays at 7:45 p.m. Our Sixth Season October 15, 2006 March 18, 2007 November 19, 2006 April 15, 2007 December 17, 2006 The public is warmly invited to attend these free concerts. The Chapel is handicapped accessible.
    [Show full text]
  • 75Thary 1935 - 2010
    ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.
    [Show full text]
  • 75Thary 1935 - 2010
    ANNIVERS75thARY 1935 - 2010 Bach Festival of Winter Park The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.
    [Show full text]
  • The 2017 Bethlehem Bach Festival in Retrospect, with a Look Forward to 2018, Marking the 120Th Anniversary of the Bethlehem Bach Choir
    The 2017 Bethlehem Bach Festival in Retrospect, with a Look Forward to 2018, Marking the 120th Anniversary of the Bethlehem Bach Choir by Michael Miller , March 26, 2018. Hans Christian Andersen’s “The Nightingale” performed by the Mock Turtle Marionette Theatre I recently spent an afternoon at the 92nd Street Y, listening to Angela Hewitt play the Goldberg Variations, the second recital of a pair which began with the First Book of the Well- Tempered Clavier. The hall was packed for both concerts. The audience remained raptly silent 1/7 during both. This afternoon every single member of the audience who was capable of standing was on his feet, expressing sincere gratitude for the great music they had just heard. There was a kind of religion in this, and it brought Jews, Christians, agnostics, and atheists together to hear the greatest of all music, which people who know it regard with spiritual fervor. This is the third year of Ms. Hewitt’s Bach cycle, which will continue next season, overlapping with Garrick Ohlsson’s traversal of the complete piano music of Brahms. That is how J. S. Bach is cultivated in the neighborhood where I live. This May, I am looking forward to attending the Bethlehem Bach Festival for the third time, to participate in another manifestation of the cult of Bach. (If one has to use words like “cult” or “idolatry,” it is without any kind of negative connotation.) This, the 111th Bethlehem Bach Festival, will mark the 120th anniversary of the Bach Choir and the 35th of Greg Funfgeld’s appointment as conductor.
    [Show full text]
  • Vaughan Williams (1872–1958) the Bach Choir Dona Nobis Pacem • Sancta Civitas the Bach Choir Has Long Been Established As One of the World’S Leading Choruses
    572424bk RVW US 12/2/10 11:55 Page 8 David Hill Renowned for his fine musicianship, David Hill is widely respected as both a choral and an orchestral conductor. He became The Bach Choir’s ninth Musical Director in 1998; he is also Chief Conductor of the BBC Singers, Associate Guest Conductor of the Bournemouth Symphony Orchestra, Chief Conductor of the Southern VAUGHAN Sinfonia and Music Director of the Leeds Philharmonic Society. Born in Carlisle and educated at Chetham’s School of Music, David Hill became a Fellow of the Royal College of Organists at the age of seventeen. WILLIAMS Having been Organ Scholar at St John’s College, Cambridge, he returned to hold the post of Director of Music from 2004 to 2007. His other appointments have included Master of the Music at Winchester Cathedral, Master of the Music at Westminster Cathedral and Dona nobis pacem Artistic Director of the Philharmonia Chorus. David Hill has a broad-ranging discography covering repertoire (Cantata) from Thomas Tallis to Judith Bingham. He has achieved Photo: Edward Webb prestigious Grammy and Gramophone Awards, and many of his discs have been recommended as Critics’ Sancta Civitas Choices. (Oratorio) Pier • Brook • Staples The Bach Choir Winchester Cathedral Choristers • Winchester College Quiristers Bournemouth Symphony Orchestra David Hill 8.572424 8 572424bk RVW US 12/2/10 11:55 Page 2 Ralph Vaughan Williams (1872–1958) The Bach Choir Dona nobis pacem • Sancta Civitas The Bach Choir has long been established as one of the world’s leading choruses. A succession of eminent musical directors, including Sir Charles Villiers Stanford, Dr Ralph Dona nobis pacem 33:29 Vaughan Williams, Sir David Willcocks and now David Hill, (A Cantata for Soprano and Baritone Soli, Chorus and Orchestra) has each ensured that the Choir performs to the highest 1 I.
    [Show full text]
  • Much to Look Forward To
    Journal of the No.18 June 2000 EDITOR Stephen Connock RVW (see address below) Society In this issue... Much to look forward to... Vaughan Williams and Bach The RVW Society is involved in a Members will also be delighted to learn number of important and exciting that Sir John in Love will be performed G R.V.W. & J.S.B. projects, some of which will come to in Newcastle City Hall by the Northern fruition quickly and others will take Sinfonia under Richard Hickox on by Michael Kennedy place in the 2002-2003 season. Of the September 29th 2000 as part of the Page 4 greatest interest to RVW Society preparation for the recording. There is members is the major Festival of such marvellous, heart warming music symphonies and choral works being in this opera that all members are urged G Lewis Foreman reviews VW planned under the title Toward the to get to Newcastle, somehow, for the conducting the St. Matthew Unknown Region. concert performance on 29th September. Passion. Page 7 Toward the Unknown Region Charterhouse Symposium G This Festival will be conducted by Following the success of the Conference VW and ‘the greatest of all Richard Hickox using his new orchestra Vaughan Williams in a New Century at composers’ the BBC National Orchestra of Wales. the British Library last November, Robin by Timothy Day Eight concerts are being planned for Wells of Charterhouse and Byron Adams Wales and there are likely to be four of the University of California have Page 10 concerts in London. The Festival begins jointly planned a superb series of at the end of 2002 and many rare choral lectures, concerts and other events at works will be programmed alongside all Charterhouse School from 23rd to 29th Postscripts on George the nine symphonies.
    [Show full text]
  • Sir David Willcocks (1919-2015)
    MONDAY 11 JANUARY 2016 | 7.30PM WESTMINSTER CATHEDRAL HALL LONDON SW1 SIR DAVID WILLCOCKS (1919-2015) MUSICAL DIRECTOR OF THE BACH CHOIR (1960-1998) A CELEBRATION OF HIS LIFE SIR DAVID WILLCOCKS CBE MC Musical Director of The Bach Choir for 38 years, and Conductor Laureate from his retirement in 1998 until his death in 2015, David Willcocks was not only responsible for taking the Choir to new levels of excellence during his time at the helm, but was also a very good friend to many of the Choir’s singing and associate members. David Willcocks became Musical Director of The Bach Choir in 1960, on the strong recommendation of Adrian Boult (himself a previous Musical Director), after the then MD, Reginald Jacques, was forced to resign due to ill health. His first concert with the Choir – a performance of Walton’s Belshazzar’s Feast and the Mozart Requiem – was very well received by the critics, the Times describing it as ‘exhilarating’ and going on to say that David Willcocks ‘had every reason to be satisfied with his new choir, and the choir with its new conductor’. In his book The Bach Choir: The First Hundred Years Dr Basil Keen wrote: ‘Willcocks was soon pointing the Choir in new directions by programming Honnegger’s King David and Howells’ Hymnus Paradisi in his first season, and Delius’s Sea Drift, Janáček’s Glagolitic Mass, Walton’s Coronation Te Deum and Fricker’s Vision of Judgement in his second. A successful innovation was his decision to invite children on to the platform to sing carols with the Choir during the Family Carol Concert.’ Through David’s connections with Benjamin Britten, The Bach Choir sang on the first Decca recording of the War Requiem with Britten conducting; this went on to sell 200,000 copies in the first five months after its release and is still the seminal recording today.
    [Show full text]
  • Program Notes for a Master's Recital in Choral Conducting Melissa Ann Williams Minnesota State University - Mankato
    Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2013 Program Notes for a Master's Recital in Choral Conducting Melissa Ann Williams Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the Music Performance Commons Recommended Citation Williams, Melissa Ann, "Program Notes for a Master's Recital in Choral Conducting" (2013). Theses, Dissertations, and Other Capstone Projects. Paper 197. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. PROGRAM NOTES FOR A MASTER’S RECITAL IN CHORAL CONDUCTING By Melissa Ann Williams A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music In Choral Conducting Minnesota State University, Mankato Mankato, Minnesota May, 2013 Abstract PROGRAM NOTES FOR A MASTER’S RECITAL IN CHORAL CONDUCTING Melissa Ann Williams, M.M. Minnesota State University-Mankato, 2013. This document is presented in partial fulfillment of the requirements for the degree, Master of Music, and submitted in support of a choral concert conducted by the author on April 28, 2013 at 3:00 p.m. at St. Peter and Paul’s Catholic Church, Mankato, MN. It presents brief biographical information regarding each composer and a conductor’s analysis of their compositions performed in the concert.
    [Show full text]
  • Stanford’S Life As a Composer
    NAXOS NAXOS Choral music was central to Charles Villiers Stanford’s life as a composer. Balancing solemnity with rapturous affirmation, The Resurrection was his first major choral work, written while he was studying under Carl Reinecke in Leipzig and anticipating Mahler’s use of Klopstock’s eponymous poem in his ‘Resurrection’ Symphony. The dramatic, at times almost operatic and Wagnerian Stabat Mater is a cantata with two purely orchestral movements suggestive of a large-scale symphony, while Song to the Soul STANFORD: contains some of Stanford’s most exhilarating utterances, though it was never performed in his lifetime. DDD STANFORD: Sir Charles Villiers 8.573512 STANFORD Playing Time (1852-1924) 70:17 Choral Music 7 Choral Music Choral Music Stabat Mater – Symphonic Cantata, Op. 96 (1906) 44:12 47313 35127 1 Prelude – Largo 9:05 2 Quartet and Chorus: Stabat Mater – Andante molto espressivo* 12:13 3 Intermezzo – Allegro moderato 3:05 4 Quartet and Chorus: Eja Mater – Allegretto* 6:38 5 Finale – Allegro* 13:11 5 6 Song to the Soul, Op. 97b (1913) 13:35 www.naxos.com Made in Germany Booklet notes in English ൿ 7 The Resurrection (1875)† 12:30 & Jesper Svedberg, Cello solo Ꭿ Elizabeth Cragg, Soprano* • Catherine Hopper, Mezzo-soprano* 2016 Naxos Rights US, Inc. Robert Murray, Tenor*† • David Soar, Bass* The Bach Choir Bournemouth Symphony Orchestra • David Hill This recording was partly funded by gifts in memory of Peter Lemar (1923-2013) – choral singer for over 80 years and a lover of Stanford’s music – and Margaret Doherty (1921-2013) – music lover, gifted pianist and gentle soul.
    [Show full text]
  • The Bach Choir of Bethlehem's Christmas Concert, a Review And
    The Bach Choir of Bethlehem’s Christmas Concert, a Review and Interview with Music Director Greg Funfgeld—to Air on Christmas Day at 8pm on WWFM by Michael Miller , December 24, 2014 2014 Christmas Concerts My soul doth magnify the Lord The Bach Choir of Bethlehem J.S. Bach – Cantata 147: Herz und Mund und Tat und Leben (Heart and Mind and Works and Life) Robert Parsons – Ave Maria Charles Villiers Stanford – Magnificat in G Daniel Gawthrop – Mary Speaks C.P.E. Bach – Magnificat in D Saturday, December 6, 2014 at 8 pm First Presbyterian Church of Allentown Sunday, December 7, 2014 at 4 pm First Presbyterian Church of Bethlehem Greg Funfgeld conducting. Photo 2014 Theo Anderson. Greg Funfgeld, Music Director of the Bach Choir of Bethlehem, kindly met with me the afternoon before their two-concert series of Christmas Concerts, the first in Allentown, PA, the second in the First Presbyterian Church in Bethlehem. We repaired to what is actually a prayer room to chat, and you will hear little if anything of the lively activity that was going on around us. He spoke about the tradition of Bach in Bethlehem, performance practice, their annual Bach Festival, which will take place in May of this coming year for the 108th time and of the distinguished scholars he invites to speak there, along with the cantatas, the chamber and orchestral music, and of course, their traditional performance of the Mass in B Minor, which received its first complete performance in America there on March 27, 1900. Audio Player Podcast: (Duration: 24:30 — 33.7MB) http://newyorkarts.net/2014/12/bach-choir- bethlehem-christmas-concert-review-interview-greg-funfgeld/ In early November New Yorkers had an opportunity to learn a striking lesson in Bach tradition from a pair of concerts, that of the Academy of Ancient Music and the Leipzig Gewandhaus Orchestra— authentic instruments, one player to a part, standing, and led from the harpsichord vs.
    [Show full text]
  • (Re)Constructing Johann Sebastian Bach: Reception History and Performance Practice in New York City During
    (RE)CONSTRUCTING JOHANN SEBASTIAN BACH: RECEPTION HISTORY AND PERFORMANCE PRACTICE IN NEW YORK CITY DURING THE GREAT WAR A THESIS IN Musicology Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By THOMAS JARED MARKS B.M. University of Missouri-Kansas City, 2010 Kansas City, Missouri 2013 ©2013 THOMAS JARED MARKS ALL RIGHTS RESERVED (RE)CONSTRUCTING JOHANN SEBASTIAN BACH: RECEPTION HISTORY AND PERFORMANCE PRACTICE IN NEW YORK CITY DURING THE GREAT WAR Thomas Jared Marks, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2013 ABSTRACT The perception of Johann Sebastian Bach (1685-1750) in New York City during the time of the Great War can be illuminated through two threads: 1) reception history and reputation, and 2) contemporary performance practices. Between 1914 and 1927, the reputation of Bach migrated away from one having nationalistic and Romantic associations to one embodying both a “universal” objectivity and a distinctly American subjectivity. Similarly, the manner in which Bach’s music was performed also changed. Before the Great War, transcribing and arranging Bach’s music was common. After the war, some New York City critics began to advocate for Bach’s music to be played as historical reconstructions. Transcriptions and arrangements continued to be performed alongside historical reconstructions, and both a subjective and historically “objective” approaches to performing the composer’s music existed. New York City musician William Henry Humiston (1869-1923) and his idea of Bach provides a useful case study of one musician’s approach to understanding the composer.
    [Show full text]