Concert Season 34
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Choral Evensong
Dean of Chapel The Revd Dr Michael Banner Director of Music Stephen Layton Chaplains The Revd Dr Andrew Bowyer The Revd Kirsty Ross (on Maternity Leave during Easter Term) The Revd Dana English Temporary Chaplain Organ Scholars Alexander Hamilton Asher Oliver CHORAL EVENSONG Sunday 13 May 2018 The Sunday after Ascension Day ORGAN MUSIC BEFORE EVENSONG Alexander Hamilton and Asher Oliver Trinity College Organ Concerto in B, Op. 4, No. 2 (Handel) i. A tempo ordinario ii. Allegro Movements from Flötenuhrstücke (Haydn) Sonata Fort’ e Piano per Organo (Sanger) Kommt, eilet und laufet (Easter Oratorio), BWV 249 (Bach arr. De Jong) i. Sinfonia ii. Adagio iii. Chorus Fancy for two to play (Tomkins) Allegro from Brandenburg Concerto No. 3 in G, BWV 1048 (Bach arr. Hamilton) Welcome to this service of Choral Evensong sung by The Choir of Trinity College Cambridge Please ensure that all electronic devices, including cameras, are switched off The congregation stands when the choir and clergy enter the Chapel. The opening hymn will follow unannounced. HYMN NEH 134 ST MAGNUS Words: Thomas Kelly (1769–1854) Music: Jeremiah Clarke (c. 1673–1707) The minister reads Dearly beloved brethren, the Scripture moveth us in sundry places, to acknowledge and confess our manifold sins and wickedness; and that we should not dissemble nor cloak them before the face of Almighty God our heavenly Father; but confess them with an humble, lowly, penitent, and obedient heart; to the end that we may obtain forgiveness of the same, by his infinite goodness and mercy. And although we ought, at all times, humbly to acknowledge our sins before God; yet ought we most chiefly so to do, when we assemble and meet together to render thanks for the great benefits that we have received at his hands, to set forth his most worthy praise, to hear his most holy Word, and to ask those things which are requisite and necessary, as well for the body as the soul. -
The Supper at Emmaus Caravaggio Supper at Emmaus1 Isaiah 35
Trinity College Cambridge 12 May 2013 Picturing Easter: The Supper at Emmaus Caravaggio Supper at Emmaus1 Isaiah 35: 1–10 Luke 24: 13–35 Francis Watson I “Abide with us, for it is towards evening and the day is far spent”. A chance meeting with a stranger on the road leads to an offer of overnight accommodation. An evening meal is prepared, and at the meal a moment of sudden illumination occurs. In Caravaggio’s painting, dating from 1601, the scene at the supper table is lit by the light of the setting sun, which presumably comes from a small window somewhere beyond the top left corner of the painting. But the light is also the light of revelation which identifies the risen Christ, in a moment of astonished recognition. So brilliant is this light that everyday objects on the tablecloth are accompanied by patches of dark shadow. Behind the risen Christ’s illuminated head, the innkeeper’s shadow forms a kind of negative halo. This dramatic contrast of light and darkness is matched by the violent gestures of the figures seated to left and right. One figure lunges forward, staring intently, gripping the arms of his chair. The other throws his arms out wide, fingers splayed. The gestures are different, but they both express the same thing: absolute bewilderment in the presence of the incomprehensible and impossible. As they recognize their table companion as the risen Christ, the two disciples pass from darkness into light. There are no shades of grey here; this is no ordinary evening light. On Easter evening the light of the setting sun becomes the light of revelation. -
TCB Groove Program
www.piccolotheatre.com 224-420-2223 T-F 10A-5P 37 PLAYS IN 80-90 MINUTES! APRIL 7- MAY 14! SAVE THE DATE! NOVEMBER 10, 11, & 12 APRIL 21 7:30P APRIL 22 5:00P APRIL 23 2:00P NICHOLS CONCERT HALL BENITO JUAREZ ST. CHRYSOSTOM’S Join us for the powerful polyphony of MUSIC INSTITUTE OF CHICAGO COMMUNITY ACADEMY EPISCOPAL CHURCH G.F. Handel's As pants the hart, 1490 CHICAGO AVE PERFORMING ARTS CENTER 1424 N DEARBORN ST. EVANSTON, IL 60201 1450 W CERMAK RD CHICAGO, IL 60610 Domenico Scarlatti's Stabat mater, TICKETS $10-$40 CHICAGO, IL 60608 TICKETS $10-$40 and J.S. Bach's Singet dem Herrn. FREE ADMISSION Dear friends, Last fall, Third Coast Baroque’s debut series ¡Sarabanda! focused on examining the African and Latin American folk music roots of the sarabande. Today, we will be following the paths of the chaconne, passacaglia and other ostinato rhythms – with origins similar to the sarabande – as they spread across Europe during the 17th century. With this program that we are calling Groove!, we present those intoxicating rhythms in the fashion and flavor of the different countries where they gained popularity. The great European composers wrote masterpieces using the rhythms of these ancient dances to create immortal pieces of art, but their weight and significance is such that we tend to forget where their origins lie. Bach, Couperin, and Purcell – to name only a few – wrote music for highly sophisticated institutions. Still, through these dance rhythms, they were searching for something similar to what the more ancient civilizations had been striving to attain: a connection to the spiritual world. -
Bach Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat Mp3, Flac, Wma
Bach Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat Country: UK Released: 1992 Style: Classical, Baroque MP3 version RAR size: 1627 mb FLAC version RAR size: 1860 mb WMA version RAR size: 1357 mb Rating: 4.7 Votes: 513 Other Formats: DXD WAV AAC VQF APE WMA MP4 Tracklist Hide Credits Gloria In D Major Rv. 589 Alto Vocals – Alison BrownerComposed By – Antonio VivaldiSoprano Vocals – Lynda Russell 1 Gloria In Excelsis Deo (Chorus) 2:28 2 Et In Terra Pax Hominibus (Chorus) 4:53 3 Laudamus Te (Sopranos I & Ii) 2:12 4 Gratias Agimus Tibi (Chorus) 0:27 5 Propter Magnam Gloriam (Chorus) 0:53 6 Domine Deus (Soprano) 3:31 7 Domine Fili Unigenite (Chorus) 2:10 8 Domine Deus, Agnus Dei (Alto & Chorus) 4:09 9 Qui Tollis Peccata Mundi (Chorus) 1:04 10 Qui Sedes Ad Dexteram (Alto) 2:06 11 Quoniam Tu Solus Sanctus (Chorus) 0:45 12 Cum Sancto Spiritu (Chorus) 2:43 Stabat Mater Alto Vocals – Caroline TrevorComposed By – Antonio Caldara 13 Stabat Mater Dolorosa (Chorus & Soli) 2:35 14 Quis Est Homo, Qui Non Fleret? (Soli) 3:18 15 Sancta Mater (Chorus & Tenor) 2:18 16 Fac Me Tecum Pie Flere (Chorus & Soli) 1:47 17 Virgo Virginum Praeclara (Chorus) 1:28 18 Fac Ut Portem (Alto) 1:17 19 Flammis Ne Urar Succensus (Soprano & Bass) 0:59 20 Christe, Cum Sit Hinc Exire (Chorus) 1:53 21 Fac Ut Animae Donetur (Chorus) 1:29 Magnificat In D Major, BWV 243 Alto Vocals – Alison BrownerSoprano Vocals – Lynda Russell 22 Magnificat Anima Mea (Chorus) 2:52 23 Et Exultavit (Soprano Ii) 2:23 24 Quia Respexit (Soprano I) 2:12 25 Omnes Generationes (Chorus) 1:11 26 Quia Fecit Mihi Magna (Bass) 2:10 27 Et Misericordia (Alto, Tenor) 3:36 28 Fecit Potentiam (Chorus) 1:51 29 Deposuit Potentes (Tenor) 1:59 30 Esurientes (Alto) 2:55 31 Suscepit Israel (Chorus) 2:08 32 Sicut Locutus Est (Chorus) 1:32 33 Gloria (Chorus) 2:20 Companies, etc. -
Bach Easter Oratorio BWV 249 (Novello Edition Ed. N. Jenkins)
PROGRAMME NOTES AND PREFACES Bach Easter Oratorio BWV 249 (Novello edition ed. N. Jenkins) HISTORY AND ORIGINS OF THE WORK Bach composed many pieces of celebratory musc during his time in Leipzig. Some were Birthday Odes for members of the ruling family. As these were only destined to receive one performance it is not surprising to find movements from them reappearing in the church cantatas which he had to provide each week for the St. Thomas choir. Thus a large work like the Christmas Oratorio is principally made up out of at least 3 celebratory birthday cantatas. i1 Bach knew a good thing when he saw it, and was determined to find a new home for some of the large-scale choral and orchestral movements into which he had put so much creative effort. In the case of the Easter Oratorio it is even likely that he planned a dual use for this music from the inception, since he makes use of all the movements in sequence in his reworking of it as church cantata. It started life as a secular birthday cantata for Christian, Duke of Sachs-Weißenfels with the opening text Entfliehet, verschwindet, entweichet, ihr Sorgen [BWV 249a] and was performed on 23rd February 1725. As with all of these cantatas (including the Christmas Oratorio ones) it started and ended with loud celebratory movements employing the town’s trumpeters and drums, of which the last one called for a full chorus as well. These pieces were sometimes performed in the open air, where such an instrumentation was particularly effective. -
THE BACH EXPERIENCE Performed During the Interdenominational Protestant Worship Service
MARSH CHAPEL AT BOSTON UNIVERSITY University Interdenominational Protestant Service of Worship Sunday, November 15th, 2015 –11:00 a.m. The Twenty-Fifth Sunday after Pentecost The Reverend Doctor Robert Allan Hill, Dean THE BACH EXPERIENCE Performed during the Interdenominational Protestant Worship Service This program is an insert to your worship bulletin. Johann Sebastian BACH Bleib bei uns, denn es will Abend werden, BWV 6 (1685-1750) Kim Leeds, mezzo-soprano Patrick T. Waters, tenor Ryne Cherry, baritone Heidi Braun-Hill, violin Guy Fishman, cello Elizabeth England, English horn MARSH CHAPEL CHOIR AND COLLEGIUM SCOTT ALLEN JARRETT CONDUCTING For more information about Music at Marsh Chapel, visit www.bu.edu/chapel/music. J. S. BACH Bleib bei uns, denn es will Abend werden, BWV 6 (1725) Johann Sebastian Bach was born in Eisenach on 21 March 1685 and died in Leipzig on 28 July 1750. He composed hundreds of cantatas for both sacred and secular purposes, over 200 of which survive. This is the twenty-sixth cantata performed by the Marsh Chapel Choir and Collegium as part of The Bach Experience. BWV 6 was composed in Leipzig for Easter Monday and first performend on 2 April 1725. It is scored for two oboes, oboe da caccia (played today on English horn), violincello piccolo (played today on cello), strings, and contiuno. Its duration is approximately 20 minutes. — — — ! The weekend of Easter in 1725 witnessed yet another display of Johann Sebastian Bach’s compositional genius, but in some ways with a less radical bent than the prior year. A toned-down reprisal of the St. -
Stabat Mater
y ^ c,\ ita ly ^ t. X tonno aoo /ctymp\aà 999 mercoledì 8 febbraio 2006 ore 21 Cattedrale di San Giovanni Battista - Duomo Orchestra Filarmonica di Torino Federico Maria Sardelli,direttore Concerto di benvenuto della Chiesa torinese nella persona di S.E.R. Cardinale Severino Poletto al mondo dello sport in occasione dei XX Giochi Olimpici Invernali W «Storino TEATROM X, settembre REGIO presenting sponsor di Italyart C itta1 di I orino musica TORINO Franz Joseph Haydn (1732-1809) Sinfonia in fa minore Hob. 1:49 “La Passione” Adagio Allegro di molto Menuet Finale: Presto Giovanni Battista Pergolesi - (1710-1736) Stabat Mater sequenza per soprano, contralto, archi e basso continuo Stabat Mater (Grave) Cujus animam (Andante) O quam tristis (Larghetto) Quae moerebat (Allegro moderato) Quis est homo (Largo, allegro) Vidit suum (Tempo giusto) Eja Mater (Allegro moderato) Fac ut ardeat (Allegro) Sancta Mater (Tempo giusto) Fac ut portem (Largo) Inflammatus (Allegro) Quando corpus / Amen (Largo, allegro) Nicki Kennedy,soprano Ann Hallenberg,mezzosoprano Stabat Mater Stabat Mater dolorosa Juxta crucera lacrimosa Dum pendebat Filius Cujus animam gementem Contristatam et dolentem Pertransivit gladius. O quam tristis et afflicta Fuit illa benedicta, Mater Unigeniti Quae moerebat et dolebat Et tremebat, dum videbat Nati poenas inciiti. Quis est homo, qui non fleret Christi Matrem si videret in tanto supplicio? Quis non posset contristan Piam Matrem contemplan Dolentem cum Filio? Pro peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum. Vidit suum dulcem Natum Moriendo desolatum, Dum emisit spiritum. Eja Máter, fons amoris Me sentire vim doloris Fac ut tecum lugeam. Fac ut ardeat cor meum In amando Christum Deum Ut sibi complaceam. -
A B C a B C D a B C D A
24 go symphonyorchestra chica symphony centerpresent BALL SYMPHONY anne-sophie mutter muti riccardo orchestra symphony chicago 22 september friday, highlight season tchaikovsky mozart 7:00 6:00 Mozart’s fiery undisputed queen ofviolin-playing” ( and Tchaikovsky’s in beloved masterpieces, including Rossini’s followed by Riccardo Muti leading the Chicago SymphonyOrchestra season. Enjoy afestive opento the preconcert 2017/18 reception, proudly presents aprestigious gala evening ofmusic and celebration The Board Women’s ofthe Chicago Symphony Orchestra Association Gala package guests will enjoy postconcert dinner and dancing. rossini Suite from Suite 5 No. Concerto Violin to Overture C P s oncert reconcert Reception Turkish The Sleeping Beauty Concerto. The SleepingBeauty William Tell conducto The Times . Anne-Sophie Mutter, “the (Turkish) William Tell , London), performs London), , media sponsor: r violin Overture 10 Concerts 10 Concerts A B C A B 5 Concerts 5 Concerts D E F G H I 8 Concerts 5 Concerts E F G H 5 Concerts 6 Conc. 5 Concerts THU FRI FRI SAT SAT SUN TUE 8:00 1:30 8:00 2017/18 8:00 8:00 3:00 7:30 ABCABCD ABCDAAB Riccardo Muti conductor penderecki The Awakening of Jacob 9/23 9/26 Anne-Sophie Mutter violin tchaikovsky Violin Concerto schumann Symphony No. 2 C A 9/28 9/29 Riccardo Muti conductor rossini Overture to William Tell 10/1 ogonek New Work world premiere, cso commission A • F A bruckner Symphony No. 4 (Romantic) A Alain Altinoglu conductor prokoFIEV Suite from The Love for Three Oranges Sandrine Piau soprano poulenc Gloria Michael Schade tenor gounod Saint Cecilia Mass 10/5 10/6 Andrew Foster-Williams 10/7 C • E B bass-baritone B • G Chicago Symphony Chorus Duain Wolfe chorus director 10/26 10/27 James Gaffigan conductor bernstein Symphonic Suite from On the Waterfront James Ehnes violin barber Violin Concerto B • I A rachmaninov Symphonic Dances Sir András Schiff conductor mozart Serenade for Winds in C Minor 11/2 11/3 and piano bartók Divertimento for String Orchestra 11/4 11/5 A • G C bach Keyboard Concerto No. -
A Conductor's Analysis of Amaral Vieira's Stabat Mater, Op.240: an Approach Between Music and Rhetoric Vladimir A
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric Vladimir A. Pereira Silva Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Pereira Silva, Vladimir A., "A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric" (2005). LSU Doctoral Dissertations. 3618. https://digitalcommons.lsu.edu/gradschool_dissertations/3618 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CONDUCTOR’S ANALYSIS OF AMARAL VIEIRA’S STABAT MATER, OP. 240: AN APPROACH BETWEEN MUSIC AND RHETORIC A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Vladimir A. Pereira Silva B.M.E., Universidade Federal da Paraíba, 1992 M. Mus., Universidade Federal da Bahia, 1999 May, 2005 © Copyright 2005 Vladimir A. Pereira Silva All rights reserved ii In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum. Evangelium Secundum Iohannem, Caput 1:1 iii ACKNOWLEDGMENTS This dissertation would have not been possible without the support of many people and institutions throughout the last several years, and I would like to thank them all for a great graduate school experience. -
Teuzzone Vivaldi
TEUZZONE VIVALDI Fitxa / Ficha Vivaldi se’n va a la Xina / 11 41 Vivaldi se va a China Xavier Cester Repartiment / Reparto 12 Teuzzone o les meravelles 57 d’Antonio Vivaldi / Teuzzone o las maravillas Amb el teló abaixat / de Antonio Vivaldi 15 A telón bajado Manuel Forcano 21 Argument / Argumento 68 Cronologia / Cronología 33 English Synopsis 84 Biografies / Biografías x x Temporada 2016/17 Amb el suport del Departament de Cultura de la Generalitat de Catalunyai la Diputació de Barcelona TEUZZONE Òpera en tres actes. Llibret d’Apostolo Zeno. Música d’Antonio Vivaldi Ópera en tres actos. Libreto de Apostolo Zeno. Música de Antonio Vivaldi Estrenes / Estrenos Carnestoltes 1719: Estrena absoluta al Teatro Arciducale de Màntua / Estreno absoluto en el Teatro Arciducale de Mantua Estrena a Espanya / Estreno en España Febrer / Febrero 2017 Torn / Turno Tarifa 24 20.00 h G 8 25 18.00 h F 8 Durada total aproximada 3h 15m Uneix-te a la conversa / Únete a la conversación liceubarcelona.cat #TeuzzoneLiceu facebook.com/liceu @liceu_cat @liceu_opera_barcelona 12 pag. Repartiment / Reparto 13 Teuzzone, fill de l’emperador de Xina Paolo Lopez Teuzzone, hijo del emperador de China Zidiana, jove vídua de Troncone Marta Fumagalli Zidiana, joven viuda de Troncone Zelinda, princesa tàrtara Sonia Prina Zelinda, princesa tártara Sivenio, general del regne Furio Zanasi Sivenio, general del reino Cino, primer ministre Roberta Mameli Cino, primer ministro Egaro, capità de la guàrdia Aurelio Schiavoni Egaro, capitán de la guardia Troncone / Argonte, emperador Carlo Allemano de Xina / príncep tàrtar Troncone / Argonte, emperador de China / príncipe tártaro Direcció musical Jordi Savall Dirección musical Le Concert des Nations Concertino Manfredo Kraemer Sobretítols / Sobretítulos Glòria Nogué, Anabel Alenda 14 pag. -
PROGRAM on 1 January 2018 – New Year Concert Antonio Vivaldi
PROGRAM on 1 January 2018 – New Year Concert Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Georg Friedrich Händel Arrival of the Queen of Sheba for strings and harpsichord Antonio Vivaldi La Follia for strings and harpsichord RV. 63 Antonio Bazzini La Ronde des Lutins for violin and strings op. 25 ______________________________________________ PROGRAM on 2 - 4 - 6 - 9 - 13 - 16 - 20 January 2018 Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Johann Adolf Hasse Sinfonia for strings and harpsichord op. 5 n. 6 Johann Sebastian Bach Concerto for violin, strings and harpsichord BWV 1041 ______________________________________________ PROGRAM on 3 - 5 - 11 - 18 - 25 January 2018 Arcangelo Corelli Concerto Grosso for 2 violins, cello, strings and harpsichord op. 6 n. 9 Antonio Vivaldi Concerto for strings and harpsichord RV. 118 Antonio Vivaldi Concerto for violin, strings and harpsichord RV. 308 Antonio Vivaldi Concerto for 2 violins, strings and harpsichord RV. 512 Antonio Vivaldi Concerto for strings and harpsichord RV. 137 Niccolò Paganini Tarantella for violin and strings op. 33 ______________________________________________ PROGRAM on 23 - 27 - 30 January and 3 - 6 - 8 - 10 February 2018 Antonio Vivaldi Le Quattro Stagioni for violin, strings and harpsichord Luigi Boccherini Fandango for strings and harpsichord Marin Marais Suite for cello and strings Manuel De Falla Danza from La Vida Breve for violin and strings ______________________________________________ PROGRAM on 29 January and 2 - 5 - 7 - 9 February 2018 Antonio Vivaldi Concerto for violin, strings and harpsichord op. 4 n. 10 la Stravaganza Antonio Vivaldi Concerto for strings and harpsichord RV. 158 Antonio Vivaldi Concerto for violin, strings and harpsichord op. -
April 27 Cantata Bulletin
Welcome to Grace Lutheran Church We are glad that you have joined us for this afternoon’s Bach Cantata Vespers. For those who have trouble hearing, sound enhancement units are available in the back of the church and may be obtained from an usher. Please silence all cell phones and pagers. Recording or photography of any kind during the service is strictly forbidden. This afternoon’s Bach Cantata Vespers is generously underwritten by the Sukup Family Foundation. 2 The Second Sunday of Easter April 27, 2014 + 3:45 p.m. EVENING PRAYER PRELUDE Fuge, Kanzone, und Epilog (Op. 85, No. 3): Credo in vitam venturi Sigfrid Karg-Elert (1877–1933) Credo in vitam venturi saeculi. Amen. I believe in the life of the world to come. Amen. Steven Wente, organ Paul Christian, violin Prelude to Evening Prayer Richard Hillert (1923–2010) We stand, facing the candle as we sing. SERVICE OF LIGHT 3 4 + PSALMODY + We sit. PSALM 141 Women sing parts marked 1. Men sing parts marked 2. All sing parts marked C. 5 6 Silence for meditation is observed, then: PSALM PRAYER L Let the incense of our repentant prayer ascend before you, O Lord, and let your lovingkindness descend upon us, that with purified minds we may sing your praises with the Church on earth and the whole heavenly host, and may glorify you forever and ever. C Amen. MOTET: Haec dies William Byrd (1540–1623) Haec dies quam fecit Dominus: This is the day that the Lord has made: exultemus et laetemur in ea. Alleluia. let us rejoice and be glad in it.