DOCSLIB.ORG

Royal Tunbridge Wells Choral Society and the Southbank Sinfonia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Royal Tunbridge Wells Choral Society and the Southbank Sinfonia Royal Tunbridge Wells Choral Society and the Southbank Sinfonia Conducted by Rebecca Miller Miriam Allan - Soprano | Kate Symonds-Joy - Mezzo Soprano Ben Thapa - Tenor | James Cleverton - Bass Generously supported by Tigyal Tunbridge TVells Burfields House Wealth Management Ltd CHORAL www.burfieldshouse.co.uk SOCIETY w w w .r t w c s . o r g . u k Hotel RTWCS Is a Registered Charity, number 27331 duVIn & Bistro @RTWChoralSoc Programme £2.50 ROYAL TUNBRIDGE WELLS CHORAL SOCIETY President: Guy Huntrods, CBE Vice Presidents: Derek Watmough MBE, Roy Dunstall Gold Patrons Silver Patrons Friends Mrs E Gall Mr M Hudson Mrs J Finch Mrs P Maxwell Mr G Grant Mr G Huntrods CBE Mr & Mrs L Grover Mrs L McCarthy Mr W Rutherford Mr R Thatcher Mrs A M Hone Mr L Morris Mr I Hughes Mr P Rosling More culture at a lower cost Support the Society and enjoy preferential treatment by becoming a Friend or Patron. The majority of arts based charities depend on voluntary financial support. Our singing members pay an annual subscription which roughly covers our overheads but the income from the sale of tickets is rarely enough to cover the cost of hiring the concert hall and paying for the orchestra and soloists. Becoming a Friend or Patron helps us to close the gap and at the same time guarantees a preferential choice of a “best seat in the house” for our concerts. Friends and Patrons also receive periodic Newsletters, are invited to attend choir members’ social events. Friends. Friends are currently asked to pay a minimum of £70 pa and receive all the benefits listed above. This amounts to only a few pounds more than the cost of the best seat price for all four concerts but in most cases also allows the Society to claim a Gift Aid refund from HM Revenue and Customs. Patrons. Patrons are those supporters who feel they would like to donate a little more than the basic Friends subscription. Silver Patrons are those who make a contribution between £100 and £200, whilst those contributing over £200 are classed as Gold Patrons. Gold Patrons receive two free tickets per concert rather than one. Unless they ask not to be included, the names of Friends and Patrons are listed in our concert programmes in recognition of their support. Applications to become a Friend or Patron can be accepted at any time by contacting: Gerald Chew: Telephone: 01892 527958 or e-mail: [email protected] We do hope that anyone who regularly attends the Society’s concerts and values the contribution the Society makes to music in Tunbridge Wells, will consider becoming a Friend or Patron, or by simply making a donation. The Society is a registered charity (no: 27331) and donations can be treated as “gift aid”. W e focus solely on providing face-to-face advice and oiler a dedicated, personal wealth management service to build long-term, trusted relationships with our clients. Together, we would look to create a working plan, providing you with a clear direction towards meeting your financial goals. This includes clarifying your objectives and researching all of the options available to you. We have die experience to help you successfully secure and enhance your financial future by offering specialist advice in a wide range, of areas including: ■ Investments • Retirement planning • Tax and estate planning • l ong term care planning For further information, or to request your complimentary guide to wealth management please contact us quoting RTWCS. BURFIELDS HOUSE WEALTH MANAGEMENT LTD r Principal Partner Practice o f St.Jam es's Place Wealth Management IdSSS' 1 4VKUiosioi;v*iK«i» CtrvorioNocN ST. JAMES’S PLACE ■ 11 m ul'iin 1 1 WEALTH MANAGEMENT mis 1* Burfields House, Goudhurst TN I7 1AE T e l: 01580 211 211 PARTNERS IN MANAGING YOUR WEALTH Email: [email protected] Web: www.burfieldshouse.co.uk An investment with St. James’s Place will be directly linked to the performance of the funds selected and may fall as well as rise.You may get back less than the amount invested. The Partner Practice represent* only St. James’* Plain: Wealth Management pic (which U authumed and regulated by the Finn tidal Conduct Authority) lor the pwrjx>*c of advising vilely on the Group's wealth management products and services, more details uf which arc set out on the Group's website ivinv sjp.ro.uL/products. The title 'Partner Practice' is the marketing term used to describe Si. James's Place representatives. PROGRAMME I: Missa 1. Kyrie (Choir) 2. Christe (Soprano 1&2) 3. Kyrie (Choir) 4. a. Gloria (Choir) b. Et in terra pax (Choir) 5. Laudamus te (Soprano) 6. Gratias agimus tibi (Choir) 7. a. Domine Deus (Soprano & Tenor) b. Qui tollis (Choir) 8. Qui sedes (Mezzo) 9. a. Quoniam tu solus sanctus (Bass) b. Cum Sancto Spiritu (Choir) INTERVAL II. Symbolum Nicenum 10. Credo in unum Deum (Choir) 11. Patrem omnipotentem (Choir) 12. Et in unum Dominum (Soprano & Mezzo) 13. Et incarnates est (Choir) 14. Crucifixus (Choir) 15. Et resurrexit (Choir) 16. Et in Spritium sanctum (Bass) 17. a. Confiteor (Choir) b. Et expect (Choir) III. Sanctus 18. a. Sanctus (Choir) b. Pleni sunt coeli (Choir) IV. Osanna, Benedictus, Agnus Dei et Dona nobis pacem 19. Osanna in excelsis (Choir) 20. Benedictus (Tenor) 21. Osanna repetatur (Choir) 22. Agnus Dei (Mezzo) 23. Dona nobis pacem (Choir) PROGRAMME NOTES regard the resulting composition as a performable work? Musicologists continue to speculate on the answers. In attempting a description of the mass and its origins, we take as our starting point the year 1733. Bach had been in the prosperous Saxon town of Leipzig for ten years, serving as Musical Director of the chief churches of St. Thomas and St. Nicholas and as cantor of St. Thomas’s School. His creative genius had already produced Johann Sebastian Bach: many of the great works by which his Mass in B Minor, BWV 232 fame has since been assured. That first decade at Leipzig alone had seen Bach’s Mass in B minor stands at the the composition of five complete very pinnacle of achievement in the cycles of church cantatas appropriate composition of sacred choral music. to all the feasts of the Christian year; It is a work of monumental scale, quite his two great Passion settings, the impractical in a liturgical context; yet St. John and St. Matthew: and many its sheer vastness is surely a reflection instrumental works and orchestral of the depth of its spiritual devotion. pieces. In 1729, he had added to a heavy workload of musical The B Minor Mass is such an supervision, performance, recital established part of the choral repertoire work, and teaching by taking over that the listener may not always realise direction of the Collegium Musicum, that it is also an enigmatic work. Its an orchestra of professional town history is one of development rather musicians and university students than straightforward composition, and that gave concerts at a local coffee even the new chronology of Bach’s house. But busy musician though he musical output, established by Alfred was, Bach was frequently at odds Durr and other researchers, has failed with his colleagues and employers to assign a complete series of precise at St. Thomas’s School and with the dates to the various stages of its elders of the town council. Often coming to birth. And at the heart of the there were disputes concerning fees, enigma lie two questions: first, at what which were so vital to Bach, with a point did Bach, a Lutheran Protestant, large family to support. By 1733, there plan to write a full Roman Catholic is some evidence to suggest that he Mass and second, did he himself really was feeling unappreciated at Leipzig. Early in 1733, there came a period give him some measure of security of enforced inactivity. On 1 February from what he considered to be the Augustus II, King of Poland and insulting treatment meted out to him Elector of Saxony, died. This event by the Leipzig authorities. The petition was followed by five months of failed, although the Missa may well mourning, during which all public have received a performance in music-making was temporarily Dresden that year. Bach did, however, suspended. Relieved of the eventually get his title: he was made composition and supervision of court composer to Augustus in 1736. music for the Lenten services, Bach found himself with time to devote At exactly what point Bach decided to personal projects. It is believed to expand the Missa into a full­ that he used the opportunity to work blown setting of the Catholic Mass on the composition of a Missa, a is a matter of conjecture. Modern portion of the liturgy sung in Latin researchers in general believe that and common to both the Lutheran the “Symbolum Nicenum” (Bach’s and Roman Catholic rites. The Missa term for the Credo) was composed comprised settings of the Kyrie and between 1742 and 1745, but there Gloria from the ordinary of the Mass. are those that think it predates the Its ecumenical qualities undoubtedly Missa and was first heard in 1732. stimulated Bach to make a musical The Sanctus, (a reworking of a setting that he, a Lutheran, could setting of the same text that was duly dedicate to his new sovereign already two decades old), the Augustus III, a Catholic. In the early Benedictus, the Agnus Dei, and the months of 1733, Bach’s eldest Dona Nobis Pacem were all added son, Wilhelm Friedemann, secured in the late 1740s.
Load more

Recommended publications
  • The “Sublime Singing” (Gramophone, 2017) of Soprano Miriam Allan
    The “sublime singing” (Gramophone, 2017) of Soprano Miriam Allan has been enjoyed across the world, from her native Australia, through Japan and Singapore, as well as at festivals throughout Europe and North America. During the 2019-20 season she will perform with David Bates’ La Nuova Musica at London’s Wigmore Hall & St John’s Smith Square, reunite with Dunedin Consort for Bach’s St Matthew Passion and sing Monteverdi Vespers and Mozart’s Mass in C Minor at Cadogan Hall. 2019 has, thus far, seen her return to Australia as artist in residence at the Newcastle Music Festival, sing Iphis (Jeptha, Handel) at Trigonale Festival, perform as Emma Kirkby’s guest during the latter’s 70th birthday recital at the Wigmore Hall, and sing Handel & Corelli motets with Les Arts Florissants prior to continuing their cycle of Gesualdo Madrigals. Of her performance as Josabeth (Athalia, Handel, Pinchgut Opera) the Sydney Morning Herald said “Miriam Allan … sang with ravishing sound, limpid elegance and precision, decorating lines with stylish ornamental arabesque.” Other recent performances have seen her debut with Sir Roger Norrington and the London Philharmonic Orchestra (2nd woman, Dido and Aeneas, Purcell) as well as Bach St Matthew Passion at Wigmore Hall with Dunedin Consort and John Butt and her debut with Portland Baroque, performing Messiah. A performance of this same work was “the vocal magic of the night…she took the audience’s breath away.” (Sydney Morning Herald, 2017) Other recent highlights have included Bach cantatas at the BBC Proms, a recital of Dowland lute songs within the enclaves of Windsor Castle and performances with the Queensland Orchestra and Erin Helyard.
    [Show full text]
  • Francesco Cavalli One Man. Two Women. Three Times the Trouble
    GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication.
    [Show full text]
  • Claudio Monteverdi. Intégrale Des Madrigaux
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Samedi 26 et dimanche 27 mai 2012 mai 27 dimanche et 26 Samedi | Samedi 26 et dimanche 27 mai 2012 Claudio Monteverdi | Intégrale des madrigaux : Troisième Livre Intégrale des madrigaux : Troisième Livre Intégrale des madrigaux : Troisième Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Claudio Monteverdi | Monteverdi Claudio 2 SAMEDI 26 MAI – 20H DIMANCHE 27 MAI – 16H30 Amphithéâtre Claudio Monteverdi Intégrale des madrigaux : Troisième Livre Précédé de madrigaux de Giaches de Wert Ces concerts s’inscrivent dans le cadre d’une intégrale des madrigaux de Monteverdi présentée sur trois saisons par Les Arts Florissants et Paul Agnew. Les Arts Florissants Paul Agnew, direction, ténor Miriam Allan, soprano Hannah Morrison, soprano Stéphanie Leclercq, contralto Sean Clayton, ténor Lisandro Abadie, basse Les Arts Florissants sont soutenus par le Ministère de la Culture et de la Communication, la Ville de Caen et la Région Basse-Normandie. Ils sont en résidence au Théâtre de Caen. Imerys et Alstom sont Grands Mécènes des Arts Florissants. France Musique enregistre ces concerts en vue d’une diffusion le vendredi 8 juin à 14h. Le concert du 26 mai est retransmis en direct sur les sites internet www.citedelamusiquelive.tv, www.artsflomedia.com et www.medici.tv, en partenariat avec France Musique. Il y restera disponible gratuitement pendant six mois. Ces concerts sont surtitrés. La traduction française des textes chantés italiens a été réalisée par Jean-Pierre Darmon. Édition musicale : Les Arts Florissants (Pascal Duc).
    [Show full text]
  • Monteverdi Choir English Baroque Soloists
    Live at Milton Court Handel Bach Scarlatti Gardiner Monteverdi Choir English Baroque Soloists 1 Domenico Scarlatti Stabat Mater a dieci voci 2 Johann Sebastian Bach Meine Herze schwimmt im Blut, BWV 199 Recitative: Meine Herze schwimmt im Blut Aria and Recitative: Stumme Seufzer, stille Klagen Recitative: Doch Gott muss mir genädig sein Aria: Tief gebückt und voller Reue Recitative: Auf diese Schmerzensreu Chorale: Ich, dein betrübtes Kind Recitative: Ich lege mich in diese Wunden Aria: Wie freudig ist mein Herz 3 George Frideric Handel Dixit Dominus, HWV 232 Dixit Dominus Domino meo Virgam virtutis tuae Tecum principium Juravit Dominus Tu es sacerdos Dominus a dextris tuis Judicabit in nationibus De torrente Gloria Patri Monteverdi Choir English Baroque Soloists Recorded live at John Eliot Gardiner Milton Court, London Esther Brazil mezzo-soprano 25 September 2014 2 Introduction Scarlatti Stabat Mater Domenico Scarlatti certainly had pedigree. Having John Eliot Gardiner trained and then worked alongside his father, the Three musicians of immense future distinction turned distinguished composer Alessandro, he was eighteen in 1703 – Domenico Scarlatti, Johann appointed organist and composer to the royal chapel Sebastian Bach and the one we in England know in Naples before he had turned sixteen; at eighteen as George Frideric Handel. This trio, together with he had just returned to his post in Naples after four three others born slightly earlier – the Frenchman months in Florence and was busy composing his first Jean-Philippe Rameau and two other Germans (the two operas. But according to Alessandro, neither most celebrated in their day), Johann Mattheson Naples nor Rome was good enough for his son.
    [Show full text]
  • L'orfeo Est Aujourd'hui L’Un Des Grands Incontournables Du Genre Opératique, Programmé Sur Toutes Les Scènes Du Monde
    L’Orfeo de Claudio Monteverdi Nouvelle production mise en espace avec costumes Les Arts Florissants Direction artistique : Paul Agnew 28 février 2017 Théâtre de Caen 2 mars 2017 Musikverein, Vienne 4 mars 2017 PNRSO Concert Hall, Katowice 8 mars 2017 Opéra royal de Versailles 10 et 11 mars 2017 Teatro del Canal, Madrid 20 mars 2017 Philharmonie de Paris Temps fort de la Saison 2016/2017 des Arts Florissants A l’occasion du 450e anniversaire de la naissance de Claudio Monteverdi Les Arts Florissants Théâtre de Caen Philharmonie de Paris Natacha Semenoff! Opus64 / Valérie Samuel Philippe Provensal Tél. : +33 (0)1 43 87 95 75 Christophe Hellouin Tél. : +33 (0)1 44 84 45 63 [email protected] Tél. : +33 (0)1 40 26 77 94 pprovensal@philharmonie de paris.fr [email protected] Sommaire L’Orfeo, communiqué p.3 Présentation par Patrick Foll p.4 Présentation par Laurent Bayle p.5 Distribution et représentations p.6 Plus d’informations sur l’œuvre p.7 Biographie de Paul Agnew p.9 Biographie des Arts Florissants p.10 Biographies des solistes p.11 Biographie de l’équipe artistique p.16 L’action pédagogique p.17 Les éditions p.18 Toute l’année Monteverdi des Arts Florissants p.19 2 L’Orfeo Claudio Monteverdi Inutile de le présenter : L'Orfeo est aujourd'hui l’un des grands incontournables du genre opératique, programmé sur toutes les scènes du monde. Rien d’étonnant à ce que Les Arts Florissants l'aient déjà abordé à plusieurs reprises (à Madrid notamment, dans le cadre d'une trilogie Monteverdi montée par Pier-Luigi Pizzi).
    [Show full text]
  • 1493902275-Sigcd402booklet.Pdf
    JEAN-PHILIPPE RAMEAU (1683-1764) ANACRÉON (1754) Scène 6 1 Ritournelle [0.00] e Air pour les Bacchantes [0.00] r Gavottes 1 & 2 pour les Égipans et les Bacchantes [0.00] Scène 1 t Ariette: “Quand l’Amour enflamme nos cœurs” (Chloé) [0.00] 2 Air accompagné: “Mirthes fleuris, naissant feuillage” (Anacréon) [0.00] y Pantomime pour Silène et deux Bacchantes [0.00] u Airs 1 & 2 pour Silène et deux Bacchantes [0.00] Scène 2 i Ariette: “L’Amour, riant et sans bandeau” (Chloé) [0.00] 3 Récitatif: “Vous nous cachez l’objet” (Chloé, Anacréon) [0.00] o Tambourins 1 & 2 [0.00] Scène 3 p Trio: “Chantons Bacchus” (Chloé, Batile, Anacréon) [0.00] 4 Air accompagné: “Tendre Amour!” (Chloé) [0.00] a Chœur: “Chantons Bacchus” [0.00] (Chloé, Batile, Anacréon, Égipans et Bacchantes) Scène 4 s Contredanse [0.00] 5 Récitatif: “Ciel, c’est Batile... Hélas!” (Batile, Chloé) [0.00] Ariette: “Des Zéphyrs, que Flore rappelle” (Batile) Total timings: [43.00] Récitatif: “Dieux! vous pleurez!” (Batile, Chloé) 6 Air accompagné: “Mille fleurs parfument les airs” (Chloé) [0.00] Récitatif: “Dieux ! ces chants ne sont pas pour moi” (Batile, Chloé) Scène 5 7 Air accompagné avec chœur: “Régnez” [0.00] MATTHEW BROOK ANACRÉON ANNA DENNIS CHLOÉ (Anacréon, jeunes Théoniens et Théoniennes) AGUSTIN PRUNELL-FRIEND BATILE 8 Airs Vifs 1 & 2 pour les jeunes Théoniens et Théoniennes [0.00] 9 Air accompagné: “Des caprices du sort” (Anacréon) [0.00] ORCHESTRA OF THE AGE OF ENLIGHTENMENT 0 Air pour les jeunes Théoniennes [0.00] THE CHOIR OF THE ENLIGHTENMENT q Récitatif: “C’est lorsque
    [Show full text]
  • HANDEL SINGING COMPETITION Final
    london-handel-festival.com HANDEL SINGING COMPETITION Final Wednesday 2 December 2020, 7pm St George’s, Hanover Square © Chris Christodoulou 1 Handel’s Church St George’s Church, Hanover Square Mayfair community, St George’s tries to be St George Street, London W1S 1FX responsive not only to the needs of those that www.stgeorgeshanoversquare.org live or work in the area, but also to those who simply pass by. Eight years ago, in partnership St George’s was built between 1721 and 1724 to with the Cabmen’s Shelter on the northern the design of John James, one of Christopher side of Hanover Square, the church embarked Wren’s assistants, as one of 50 churches for the on a feeding programme for the homeless in Cities of London and Westminster by Act of our midst. As a result homeless people no Parliament in 1711. It cost just £10,000 (about longer just pass by but come into the church £850,000 in today’s terms). along with worshippers, cultural tourists, During two and a half centuries St George’s concert givers and attenders, and those who has been a centre of musical activities from simply come in for a moment’s quiet reflection the time of Thomas Roseingrave, appointed in their busy lives. the church’s first organist in 1725, to our own Soon this mix of people coming to St George’s day and the present musical director, Simon will change still further, as those emerging Williams. In 1978 the then organist, Denys from the new Crossrail station in Hanover Darlow, founded the London Handel Festival.
    [Show full text]
  • Soprano the “Sublime Singing” (Gramophone, 2017) of Soprano Miriam Allan Has Been Enjoyed Across the World
    Miriam Allan – Soprano The “sublime singing” (Gramophone, 2017) of Soprano Miriam Allan has been enjoyed across the world. During the 2019-20 season she will perform with David Bates’ La Nuova Musica at London’s Wigmore Hall, reunite with Dunedin Consort for Bach’s St Matthew Passion and sing Monteverdi Vespers & Mozart’s Mass in C Minor at Cadogan Hall. Recent performances have seen her debut with the London Philharmonic Orchestra, a return to her native Australia as artist in residence at the Newcastle Music Festival, Handel Jeptha at Trigonale Festival, Emma Kirkby’s 70th birthday recital at the Wigmore Hall, as well as Handel motets with Les Arts Florissants, prior to continuing their cycle of Gesualdo Madrigals. On the opera stage she is a regular principle with Pinchgut Opera, alongside appearances at the Innsbruck Festival, Glyndebourne Festival Opera, Opera Comique, Paris, and Brooklyn Academy of Music, New York as well as appearances in Mozart Opera Galas at the Royal Opera House, Covent Garden and Salle Pleyel, Paris. Frequent collaborators include Sir John Eliot Gardiner, Masaaki Suzuki and William Christie, whilst she has sung with the BBC Philharmonic, Melbourne Symphony, Orchestra of the Age of Enlightenment and the Academy of Ancient Music. She has performed Mozart Mass in C Minor in Lincoln Centre, New York, Bach Magnificat in the Musikverein, Vienna, Handel Messiah in Sydney Opera House and Haydn Die Schöpfung at the Barbican, London. Her discography includes the Gramophone award winning series of Monteverdi Madrigals with Les Arts Florissant, with whom she can also be seen in the DVD release of Orfeo, as well as Mozart Requiem with Leipzig Kammerorchester, a recital of Handel & Purcell on ABC Classics and Pinchgut Opera’s series of live recordings.
    [Show full text]
  • Matthew Passion
    BACH Matthew Passion Alice Evans (Violin) Alice Evans Director Kristian Bezuidenhout Wed 12.4.17 - New Auditorium, Royal Concert Hall, Glasgow Thurs 13.4.17 - Perth Concert Hall, Perth Fri 14.4.2017 - The Queen’s Hall, Edinburgh 2 MATTHEW PASSION BWV 244 MATTHÄUS-PASSION J.S. BACH (1685-1750) PASSIO DOMINI NOSTRI J. C. SECUNDUM EVANGELISTAM MATTHAEUM Dunedin Consort acknowledges with grateful thanks the generous support of the Dunard Fund whose financial assistance has enabled us to present this timeless masterpiece in Edinburgh for many years. MATTHEW PASSION 3 KRISTIAN BEZUIDENHOUT DIRECTOR, ORGAN & HARPSICHORD CHORUS 1 Rachel Redmond — Soprano & Maid Emilie Renard — Alto Daniel Norman — Tenor & Evangelist Robert Davies — Bass & Jesus Christ CHORUS 2 Miriam Allan — Soprano, Maid & Pilate’s Wife Rory McCleery — Alto & Witness David Lee — Tenor & Witness Jimmy Holliday — Bass, Pilate, Priests, Peter & Judas ORCHESTRA 1 ORCHESTRA 2 Violins Sophie Gent (Leader) Violins Matthew Truscott Sarah Bevan Baker Hilary Michael Alice Evans Rebecca Livermore Sijie Chen Kristin Deeken Viola Alfonso Leal del Ojo Viola Oliver Wilson Cello/Gamba Jonathan Manson Cello Andrew Skidmore Violone William Hunt Violone Christine Sticher Oboes Alexandra Bellamy Oboes Joel Raymond Frances Norbury Tatjana Zimre Flutes Katy Bircher Flutes Amelia Shakespeare Graham O’Sullivan Fiona Ferguson Organ David Gerrard 4 MATTHEW PASSION PROGRAMME NOTE The tradition of singing one of the four Gospel greatest ironies about Bach’s Passions is that their Passion narratives on Good Friday and Palm original audiences were far less familiar with the Sunday stretches back to the beginnings of the genre than we are; moreover - as is the case with formalized Christian liturgy.
    [Show full text]
  • Claudio Monteverdi Samedi 8 Et Dimanche 9 Octobre Dimanche 8 Et Samedi | Intégrale Des Madrigaux : Premier Livre
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Samedi 8 et dimanche 9 octobre Claudio Monteverdi Samedi 8 et dimanche 9 octobre dimanche 8 et Samedi | Intégrale des madrigaux : Premier Livre madrigaux Dans le cadre du cycle Les larmes Du 1er au 9 octobre Premier Livre de Livre Premier | Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Monteverdi Claudio 8/10 ARTS FLO.indd 1 03/10/11 11:57 Cycle Les larmes Des pleurs soufis aux tombeaux écrits par Couperin ou Froberger, le fluide lacrymal ruisselle comme le flux musical. Le premier concert de ce cycle nous fait voyager, dans une nuit soufie, de Bangale (Inde) à Fès (Maroc) en passant par Java (Indonésie). Le soufisme est la dimension mystique de l’islam et les soufis décrivent volontiers l’état dans lequel les plonge la pratique du dhikr (la récitation rythmée du nom de Dieu) comme un état amoureux. L’art du munshid – le chanteur religieux – y contribue aussi, avec la saisissante étendue de son timbre vocal et ses ponctuations faites de pleurs (les premiers soufis étaient connus sous le nom de « pleureurs »), de chuchotements, de cris, de soupirs… Le programme de Christophe Rousset (4 octobre) est centré sur les tombeaux de Monsieur Blancrocher de Louis Couperin (1626-1661) et Johann Jakob Froberger (1616-1667), que ces deux compositeurs marquants de la musique pour clavier au XVIIe siècle avaient écrits en hommage au luthiste Charles de Blancrocher, mort en 1652 d’une chute dans un escalier.
    [Show full text]
  • Mozart US 25/11/05 1:19 Pm Page 12
    557728bk Mozart US 25/11/05 1:19 pm Page 12 Tu suscipe pro animabus illis, accept these for those souls quarum hodie memoriam facimus whose memory we recall today: fac eas, Domine, de morte transire ad vitam, make them, Lord, cross from death to life. MOZART quam olim Abrahae promisisti as you once promised to Abraham et semini ejus. and his seed. # V. Sanctus (Chorus) # V. Holy, holy, holy (Chorus) Requiem Sanctus, sanctus, sanctus Dominus Deus Sabaoth, Holy, holy, holy Lord God of Sabaoth. pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Osanna in excelsis. Hosanna in the highest. Allan • Buter • Ullmann • Snell $ VI. Benedictus (Soloists & Chorus) $ VI. Blessed is he (Soloists and Chorus) GewandhausKammerchor Benedictus, qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Osanna in excelsis. Hosanna in the highest. Leipziger Kammerorchester % VII. Agnus Dei (Chorus) % VII. Lamb of God (Chorus) Agnus Dei, qui tollis peccata mundi, Lamb of God, that takes away the sins of the Morten Schuldt-Jensen dona eis requiem. world, grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, that takes away the sins of the dona eis requiem sempiternam. world, grant them eternal rest. VIII. Communio VIII. Communion ^ Lux Aeterna (Soprano and Chorus) ^ Let eternal light (Soprano and Chorus) Lux aeterna luceat eis, Domine, Let eternal light shine upon them, O Lord, cum sanctis tuis in aeternum, with your saints for ever, quia pius es. for you are merciful. Requiem aeternam dona eis, Eternal rest grant to them, O Lord, Domine, et lux perpetua luceat eis and let perpetual light shine upon them, cum sanctis tuis in aeternum.
    [Show full text]
  • You, Me and the Wide Open Sky
    You, me and the wide open sky Music evoking the wide open feeling of our Australian landscape Conductor Dr Christopher Allan Flute Sally Walker Piano Erin Sweetman Christ Church Cathedral Newcastle 3pm Saturday 17 August 2019 Program You, Me and the Wide Open Sky Dan Walker Three Australian Bush Songs Iain Grandage Phonograph Dan Walker Monday to Friday (Wednesday II) Cyrus Merant Blue Silence Elena Kats-Chernin Roadtrip Sally Whitwell Songs No Longer Sung Juliana Kay Orestias Dan Walker INTERVAL INTERVAL Zeny Giles talks about Magic Voices and creative processes Magic Voices Elena Kats-Chernin Shall We Dream? Michael Atherton Tides of Ocean Matthew Orlovich Eliza’s Aria (from ‘Wild Swans’) Elena Kats-Chernin Green Leaf Prelude (from 'Wild Swans’) Elena Kats-Chernin Chatterbox Rag Elena Kats-Chernin The Owl and the Pussycat Iain Grandage Waltzing Matilda (A new version) Ruth McCall Program notes This is the first all Australian program that the Newcastle University Choir has presented for some time. In the last twenty years or so, there has been a proliferation of new choral works by young Australian composers which have captured a feeling of the landscape of our country. The program is designed to present a selection of these evocative and exciting works. Now resident in Canberra, Dan Walker is a singer as well as a composer and conductor who contributes solidly to choral repertoire with many new compositions, often being commissioned by groups such as Gondwana Voices. Dan has a gift for both melody writing and for interesting piano accompaniments, as you will hear in the three works of his we will perform.
    [Show full text]