Matthew Passion
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T H E P Ro G
Thursday, April 19, 2018, at 7:30 pm m a Art of the Song r g o Mark Padmore , Tenor r P Paul Lewis , Piano e h SCHUMANN Liederkreis (1840) Morgens steh’ ich auf und frage T Es treibt mich hin Ich wandelte unter den Bäumen Lieb Liebchen Schöne Wiege meiner Leiden Warte, warte, wilder Schiffmann Berg’ und Burgen schaun herunter Anfangs wollt’ ich fast verzagen Mit Myrten und Rosen BRAHMS Es liebt sich so lieblich im Lenze Sommerabend Mondenschein (1878) Es schauen die Blumen Meerfahrt Der Tod, das ist die kühle Nacht Intermission Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Alice Tully Hall, Starr Theater Adrienne Arsht Stage Great Performers Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Endowment support for Symphonic Masters is provided by the Leon Levy Fund. Endowment support is also provided by UBS. Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center UPCOMING GREAT PERFORMERS EVENTS: Friday, April 27 at 8:00 pm in David Geffen Hall Los Angeles Philharmonic Gustavo Dudamel, conductor ESA-PEKKA SALONEN: Pollux (New York premiere) VARÈSE: Amériques SHOSTAKOVICH: Symphony No. 5 Pre-concert -
Liturgical Drama in Bach's St. Matthew Passion
Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy. -
Download Recording Booklet
Johann Sebastian Bach EDITION: BREITKOPF & HÄRTEL, EDITED BY J. RIFKIN (2006) Dunedin Consort & Players John Butt director SUSAN HAMILTON soprano CECILIA OSMOND soprano MARGOT OITZINGER alto THOMAS HOBBS tenor MATTHEW BROOK bass MASS IN J S Bach (1685-1750) Mass in B minor BWV 232 B MINOR Mass in B minor Edition: Breitkopf & Härtel, edited by Joshua Rifkin (2006) Johann Sebastian Bach Dunedin Consort & Players John Butt director ach’s Mass in B Minor is undoubtedly his most spectacular choral work. BIts combination of sizzling choruses and solo numbers covering the gamut of late-Baroque vocal expression render it one of the most joyous musical 6 Et resurrexit ............................................................... 4.02 Missa (Kyrie & Gloria) experiences in the western tradition. Nevertheless, its identity is teased by 7 Et in Spiritum sanctum ................................. 5.27 countless contradictions: it appears to cover the entire Ordinary of the Catholic 1 Kyrie eleison .............................................................. 9.39 8 Confiteor ....................................................................... 3.40 Liturgy, but in Bach’s Lutheran environment the complete Latin text was seldom 2 Christe eleison ........................................................ 4.33 9 Et expecto .................................................................... 2.07 sung as a whole; it seems to have the characteristics of a unified work, yet its 3 Kyrie eleison ............................................................. -
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. -
Mark Padmore
` BRITTEN Death in Venice, Royal Opera House, Covent Garden At the centre, there’s a tour de force performance by tenor Mark Padmore as the blocked writer Aschenbach, his voice apparently as fresh at the end of this long evening as at the beginning Erica Jeal, The Guardian, November 2019 Tenor Mark Padmore, exquisite of voice, presents Aschenbach’s physical and spiritual breakdown with extraordinary detail and insight Warwick Thompson, Metro, November 2019 Mark Padmore deals in a masterly fashion with the English words, so poetically charged by librettist Myfanwy Piper, and was in his best voice, teasing out beauty with every lyrical solo. Richard Fairman, The Financial Times, November 2019 Mark Padmore is on similarly excellent form as Aschenbach. Padmore doesn’t do much opera, but this role is perfect for him………Padmore is able to bring acute emotion to these scenes, without extravagance or lyricism, drawing the scale of the drama back down to the personal level. Mark Padmore Gavin Dixon, The Arts Desk, November 2019 Tenor ..It’s the performances of Mark Padmore and Gerald Finley that make the show unmissable. …Padmore……conveys so believably the tragic arc of Aschenbach’s disintegration, from pompous self-regard through confusion and brief ecstatic abandon to physical and moral collapse. And the diction of both singers is so clear that surtitles are superfluous. You will not encounter a finer performance of this autumnal masterpiece. Richard Morrison, The Times, November 2019 BACH St John Passion¸ Orchestra of the Age of Enlightenment, Simon Rattle. Royal Festival Hall, London Mark Padmore has given us many excellent evangelists, yet this heartfelt, aggrieved, intimate take on St John’s gospel narrative, sometimes spiked with penetrating pauses, still seemed exceptional. -
ANNUAL REPORT 2019 2 Tuomo Suni, Violin Tuomo 3
1 ANNUAL REPORT 2019 2 Tuomo Suni, violin Tuomo 3 MISSION STATEMENT To move, engage, challenge and delight our audiences through our music with performances, recordings and educational activities, both in Scotland and beyond. VISION To be recognised as one of the leading international ensembles in period performance, admired for our particularly lively engagement with historical discovery and spontaneous music making, creative programming, and the infectious commitment of our world-class musicians, audiences and supporters, both in Scotland and in the international arena. CORE VALUES Caring for and nurturing our audience, supporters, musicians and employees, bringing them ever closer to the centre of our work. Performing programmes that our musicians and audiences find engaging, challenging and rewarding, bringing our music to as many people of the diverse communities we serve as possible. Exploring fully the potential of our historical heritage to bring to the fore connections with our present and stress the vitality and relevance of our work. Fostering in our musicians the inquisitive, searching, experimenting mindset necessary to ensure our music remains vibrant and relevant. We believe everyone has the right to enjoy our music and we are committed to ensuring non-professional singers and instrumentalists of all ages, as well as the next generation of professional musicians and scholars have the opportunity to engage with and learn from our work in a deep and meaningful way. 4 Recording Handel’s Samson at St Jude’s on the Hill, London, May 2018 Samson at St Jude’s Recording Handel’s 5 CONTENTS MUSIC DIRECTOR’S REPORT 6 CHIEF EXECUTIVE’S REPORT 7 TRUSTEES’ REPORT 8 ACHIEVEMENTS AND PERFORMANCE 12 FINANCIAL REVIEW 18 FINANCIAL STATEMENTS 22 NOTES TO THE FINANCIAL STATEMENTS 28 INDEPENDENT AUDITOR’S REPORT 38 6 MUSIC DIRECTOR’S REPORT At the beginning of the new financial year, we found The latter was described by The Times as ‘ensemble ourselves in Krakow, undertaking one of Dunedin brilliance at its most inventive and scintillating’. -
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. -
2016-2017 Season
1 Emily Mitchell (Soprano) 2 MONTEVERDI Vespers 1610 Monteverdi’s spectacular masterpiece of 1610 is the most lavish of all the music that this peerless genius wrote for the church in early 17th century Venice. Nothing composed before Bach can rival it for sonic grandeur, but there is intimacy too in Monteverdi’s brilliantly imaginative use of solo voices and instruments. With a starry vocal line-up, joined by the virtuoso players of Dunedin Consort and His Majestys Sagbutts and Cornetts, join us for what promises to be an unmissable event. Monteverdi Fri 09.09.2016 Vespro della beata Vergine, 1610 Lammermuir Festival, St Mary’s Haddington Director John Butt 7.30pm | £19.50 – £11.50 Soprano Sold out. Returns only Joanne Lunn Esther Brazil Soprano Emilie Renard Mezzo Sun 11.09.2016 Joshua Ellicott Tenor Perth Concert Hall Matthew Long Tenor Bass 3pm | £19.50 – £11.50 Edward Grint Matthew Brook Bass with His Majesties Sackbutts and Cornetts 3 Christine Sticher (Double Bass) 4 PURCELL, SHAKESPEARE & CERVANTES Fantasy & Madness From a world in which windmills are giants and ordinary inns are castles, through the underwater kingdom of Neptune & Amphitrite, to an enchanted forest filled with fairies, the stories of Cervantes and Shakespeare are lifted off the page by Purcell’s theatrically rich musical settings. The Elizabethan literary landscapes of Don Quixote de la Mancha, The Tempest, and A Midsummer’s Night Dream are staged fusing sound, light, costume, and the beauty of the written word. Inspired by the theatrical spectacle and machinery, which lies at the heart of Restoration period theatre and opera, two singers embody the stories of these writers through voice and action, as they continually uncover moments of transformation within their costume. -
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. -
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). -
Magnificat JS Bach
Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16 -
DUNEDIN CONSORT JOHN BUTT SIX Brandenburg Concertos
DUNEDIN CONSORT JOHN BUTT SIX BRANDENBURG CONCERTOS John Butt Director and Harpsichord Cecilia Bernardini Violin Pamela Thorby Recorder David Blackadder Trumpet Alexandra Bellamy Oboe Catherine Latham Recorder Katy Bircher Flute Jane Rogers Viola Alfonso Leal del Ojo Viola Jonathan Manson Violoncello Recorded at Post-production by Perth Concert Hall, Perth, UK Julia Thomas from 7-10 May 2012 Design by Produced and recorded by Gareth Jones and gmtoucari.com Philip Hobbs Photographs by Assistant engineering by David Barbour Robert Cammidge Cover image: The Kermesse, c.1635-38 (oil on panel) by Peter Paul Rubens (Louvre, Paris, France / Giraudon / The Bridgeman Art Library) DISC 1 Brandenburg Concerto No. 1 in F Major, BWV 1046 Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello col Basso Continuo q […] 4:02 w Adagio 3:44 e Allegro 4:11 r Menuet Trio Polonaise 8:47 Brandenburg Concerto No. 2 in F Major, BWV 1047 Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino, concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo t […] 4:51 y Andante 3:18 u Allegro assai 2:44 Brandenburg Concerto No. 3 in G Major, BWV 1048 Concerto 3zo a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo i […] 5:30 o Adagio 0:25 a Allegro 4:46 Total Time: 42:44 DISC 2 Brandenburg Concerto No. 4 in G Major, BWV 1049 Concerto 4ta à Violino Principale, due Fiauti d’Echo, due Violini, una Viola è Violone in Ripieno, Violoncello è Continuo q Allegro 6:45 w Andante 3:20 e Presto 4:30 Brandenburg Concerto No.