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A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors. -
Johann Sebastian Bach Du Treuer Gott Leipzig Cantatas BWV 101 - 115 - 103
Johann Sebastian Bach Du treuer Gott Leipzig Cantatas BWV 101 - 115 - 103 Collegium Vocale Gent Philippe Herreweghe Johann Sebastian Bach (1685–1750) Nimm von uns, Herr, du treuer Gott, BWV 101 Mache dich, mein Geist, bereit, BWV 115 Ihr werdet weinen und heulen, BWV 103 Dorothee Mields Soprano Damien Guillon Alto Thomas Hobbs Tenor Peter Kooij Bass Collegium Vocale Gent Philippe Herreweghe Menu Tracklist ------------------------------ English Biographies Français Biographies Deutsch Biografien Nederlands Biografieën ------------------------------ Sung texts Johann Sebastian Bach (1685-1750) Nimm von uns, Herr, du treuer Gott, BWV 101 [1] 1. Coro: Nimm von uns, Herr, du treuer Gott ______________________________________________________________7’44 [2] 2. Aria (tenor): Handle nicht nach deinen Rechten ________________________________________________________3’30 [3] 3. Recitativo e choral (soprano): Ach! Herr Gott, durch die Treue dein__________________________________2’13 [4] 4. Aria (bass): Warum willst du so zornig sein? ___________________________________________________________ 4’14 [5] 5. Recitativo e choral (tenor): Die Sünd hat uns verderbet sehr _________________________________________ 2’11 [6] 6. Aria (soprano, alto): Gedenk an Jesu bittern Tod _______________________________________________________5’59 [7] 7. Choral: Leit uns mit deiner rechten Hand _______________________________________________________________0’55 Mache dich, mein Geist, bereit, BWV 115 [8] 1. Coro: Mache dich, mein Geist, bereit ____________________________________________________________________4’00 -
Bach Academy Bruges
ENGLISH Wed 24 Jan — Sun 28 Jan 2018 BACH BEWERKT BACH ACADEMY BRUGES Bach rearranged — 01 — Dear music lover Festival summary Welcome to this eighth Bach than composing for religious services: WED 24 JAN 2018 15.00 Concert hall 17.00 Chamber music hall seeking the essence of music, distilling out BELGIAN PREMIERE Oxalys & Bojan Cicic Academy, with a programme that its language as far as he was able. 19.15 Stadsschouwburg Dietrich Henschel All roads lead to Bach focuses on the parody. The last ten years of his life saw the Introduction by Gloria Schemelli’s Gesangbuch p. 20 composition of the second part of the Carlier (in Dutch) p. 10 Well-Tempered Clavier, the Goldberg 19.15 Chamber music hall As you undoubtedly know, Bach frequently Variations, the Von Himmel Hoch choral 20.00 Stadsschouwburg 17.00 Chamber music hall Introduction by Ignace drew on music by other composers or his variations, The Musical Offering, the Mass Mass B Christine Busch & Bossuyt (in Dutch) own earlier work to mould into new works of in B minor and The Art of the Fugue. None Béatrice Massin & Jörg Halubek his own. The Mass in B minor, for example, of these compositions was written on Compagnie Fêtes galantes Bach. Violin sonatas 20.00 Concert hall is a brilliant interweaving of largely commission. For these works, Bach was i.c.w. Cultuurcentrum Brugge p. 11 Collegium Vocale Gent refashioned parts of earlier cantatas with driven only by artistic inspiration. They So singen wir recht das earned him nothing, and only thirty copies 19.15 Chamber music hall Gratias newly-composed passages. -
Ricercar Consort
Bach en Hoogdagen Ricercar Consort . Philippe Pierlot Weckmann, Bach vrijdag 12 maart 2004 Bach en Hoogdagen . Seizoen 2003-2004 Klaus Mertens bas . Bob van Asperen klavecimbel en orgel J. S. Bach, Böhm vrijdag 19 september 2003 Amsterdam Baroque Orchestra . Ton Koopman Bach dinsdag 30 september 2003 Koor en Orkest Collegium Vocale . Philippe Herreweghe Bach zondag 30 november 2003 Collegium Vocale . Ricercar Consort Oltremontano . Philippe Pierlot Praetorius dinsdag 16 december 2003 Koor en Orkest Collegium Vocale . Philippe Herreweghe Bach maandag 1 maart 2004 Ricercar Consort . Philippe Pierlot Weckmann, Bach vrijdag 12 maart 2004 Ricercar Consort . Philippe Pierlot Anna Maria Friman sopraan . Carlos Mena altus Jan Van Elsacker tenor . Stephan MacLeod bas begin concert 20.00 uur Conjuratio pauze omstreeks 20.50 uur einde omstreeks 21.50 uur Matthias Weckmann (1619-1674) inleiding door Dirk Moelants . 19.15 uur . Vergaderzaal Zion spricht: Der Herr hat mich verlassen teksten programmaboekje Dirk Moelants coördinatie programmaboekje deSingel druk programmaboekje Fotogravure Godefroit Anonymus (ca. 1664) Det är nog gelieve uw GSM uit te schakelen! Matthias Weckmann Kommet her zu mir Weine nicht pauze Matthias Weckmann Wie liegt die Stadt so wüste Johann Sebastian Bach (1685-1750) Foyer deSingel Nach dir, Herr, verlanget mich, BWV150 enkel open bij avondvoorstellingen in Rode en/of Blauwe Zaal open vanaf 18.40 uur kleine koude of warme gerechten te bestellen vóór 19.20 uur broodjes tot net vóór aanvang van de voorstellingen en tijdens pauzes -
Indianapolis Baroque Orchestra Barthold Kuijken, Artistic Director & Conductor Toma Iliev, Maria Romero, Stephanie Raby, Violins ______
Three Hundred Ninety-Eighth Program of the 2012-13 Season _______________________ Early Music Institute IndyBaroque Music The Allen Whitehill Clowes Series Indianapolis Baroque Orchestra Barthold Kuijken, Artistic Director & Conductor Toma Iliev, Maria Romero, Stephanie Raby, Violins _______________________ The Colorful Telemann From Armide (1686) . Jean-Baptiste Lully Ouverture (1632-1687) Passacaille Overture in E Minor, TWV 55:e3 .......... Georg Philipp Telemann Ouverture (1681-1767) Les Cyclopes Menuet Galimatias en rondeaux Hornpipe _________________ Auer Concert Hall Saturday Afternoon January Nineteenth Four O’Clock music.indiana.edu Concerto in F Major, RV 551 ................... Antonio Vivaldi Allegro (1678-1741) Andante Allegro Toma Iliev, Maria Romero, Stephanie Raby, Violins Malin Sandell, Cello Bernard Gordillo, Harpsichord Intermission Suite from Dardanus (1739) ................ Jean-Philippe Rameau Ouverture (1683-1764) Air pour les Plaisirs I Air pour les Plaisirs II Air gracieux Tambourins I and II Air vif Rigaudons I and II Air gay en rondeau Menuets I and II Tambourins I and II Sommeil: Rondeau tendre Air très vif Calme des Sens: Air tendre Gavotte vive Chaconne ___________________ Barthold Kuijken is the world’s leading performer on the Baroque flute. He regularly appears with such early music specialists as his brothers, Sigiswald Kuijken, violin, and Wieland Kuijken, viol, as well as with Paul Dombrecht, oboe, and harpsichordist Bob van Asperen. He performed frequently with the late harpsichordist Gustav Leonhardt. Born in Belgium in 1949, Kuijken began his conservatory studies on the modern flute in Bruges and Brussels, where he played with the contemporary music ensemble Musiques Nouvelles. He discovered the Baroque flute on his own while a student in Brussels. -
Neue Bach-Ausgabe of 1969, 152 – 32 Pages Fewer Than Bärenreiter
Early Music Review EDITIONS OF MUSIC have been rejected. What Bach is concerned with is the total length, not so much as individual pieces but groups J. S. Bach Complete Organ Works vol.8: of pieces (e.g. the first 24 preludes and fugues) and the idea is most lengthily shown in the B-minor Mass. The Organ Chorales of the Leipzig Manuscript “18” is a dubious choice because nos. 16-18 were written Edited by Jean-Claude Zehnder. after the composer’s death. I wonder whether the first Breitkopf Härtel (EB8808), 2015. & piece in the collection, Fantasia super Komm, Heiliger 183pp + CD containing musical texts, commentary & Geist, was expanded from 48 to 105 bars as the quickest synoptical depiction. €26.80. way to complete the round number. The total bars of any individual chorale is only relevant to the total, and the bought the Bärenreiter equivalent (vol. 2) back in 1961, only round sum covers BWV 651-665. It does seem an three years after it was published. Bach evidently was odd concept and I can’t take it seriously – the 1200 bars I expecting to produce a larger work than the six Organ do not help guess how to fit such a length into CD discs. Sonatas, assembled around 1730; he then waited a decade But that Bach wrote “The 15” rather than “The 18” could, before moving on around 1740, using the same paper. He even without a total bar count, suggest that BWV 666-668 copied 15 pieces, then had a break. BWV666 and 667 were should be left as an appendix. -
2015 National Flute Association Convention Go Baroque! Historically Informed Performance for Modern Flutists
2015 National Flute Association Convention Go Baroque! Historically Informed Performance for Modern Flutists Leela Breithaupt www.leelabreithaupt.com Historical Informed Performance (HIP) HIP is a movement that cherishes the challenge and discovery of playing music as it could have been played when it was originally composed. Have you ever wondered how Baroque composers like Bach and Telemann might have imagined their pieces, or how flutists like Frederick the Great or Jacques Hotteterre might have played them while the ink was still fresh? Learning about HIP is not rocket science. It can inspire you to look at music in a different way and will require patience – like learning any new language! Traverso demonstration Suite in b minor op 35/5 (1731) Joseph Bodin de BOISMORTIER Prélude 1689 - 1755 Bourrée en rondeau Rondeau Fantaisie Gigue HIP goal: declamatory and rhetorical musical phrasing “If the words were not separated from one another by the accents associated with the length and brevity of the syllables, […] the most beautiful speech [would] sound no better than the letter-by-letter reading of children.” – Johann Phllipp Kirnberger, 1776 The Big Three: HIP concepts that will change your Baroque playing. 1. Beat hierarchy 2. Micro-dynamics 3. Varied Articulations 1. Beat hierarchy Strong and weak beats within each bar - strict order of importance As a rule, beat one is the strongest in all meters In common time: In triple time: 1 2 3 4 1 2 3 Pickups don’t lead in to downbeats Hierarchy extrapolates to divisions of beats Example: 4 sixteenth notes in a quarter note have the same hierarchical order as 4 quarter notes in bar Beat hierarchy eliminates sewing machine effect of equally emphasized running passages Musical example #1: JS Bach, Sonata in b minor, BWV 1030 (c.1736), Andante 2. -
Collegium Vocale Gent Olv
muziek Koor en Orkest Collegium Vocale Gent olv. Philippe Herreweghe vr 23 & za 24 mrt 2018 / Grote podia / Blauwe zaal 20 uur / pauze ± 20.40 uur / einde ± 22.20 uur inleiding za 24 mrt 2018 / Rudy Tambuyser / 19.15 uur Blauwe foyer 2017-2018 Bach & Hoogdagen Ensemble 1700 olv. Dorothee Oberlinger blokfluit di 28 nov 2017 Le Concert Lorrain & Dresdner Kammerchor olv. Christoph Prégardien wo 20 dec 2017 Barokorkest B’Rock & Vokalconsort Berlin olv. Benjamin Bayl vr 22 dec 2017 Koor & Orkest Collegium Vocale Gent olv. Philippe Herreweghe vr 23 & za 24 mrt 2018 Barokorkest B’Rock & Balthasar Neumann Chor olv. Ivor Bolton wo 9 mei 2018 teksten programmaboekje Rudy Tambuyser coördinatie programmaboekje deSingel Koor en Orkest Collegium Vocale Gent D/2018/5.497/38 Philippe Herreweghe muzikale leiding Maximilian Schmitt tenor (Evangelist) Krešimir Stražanac bas (Jesus) Dorothee Mields sopraan Damien Guillon contratenor Robin Tritschler tenor Peter Kooij bas Johann Sebastian Bach (1685-1750) Johannes-Passion, BWV245 (1724) Gelieve uw GSM uit te schakelen Cd-verkoop Bij onze concerten worden occasioneel cd’s te koop aangeboden door De inleidingen kan u achteraf beluisteren via La Boite à Musique / Coudenberg 74 / Brussel / +32 www.desingel.be (0)2 513 09 65 / www.classicalmusic.be Selecteer hiervoor voorstelling / concert / tentoonstelling van uw keuze. Concertvleugels Met bijzondere dank aan Ortwin Moreau voor het stemmen en het onderhoud van de Grand café deSingel drankjes / hapjes / snacks concertvleugels van deSingel uitgebreid tafelen / open alle dagen: 9-24 uur Moreau Pianoservice / Kapucinessenstraat 32 / 2000 informatie en reserveren: +32 (0)3 237 71 00 of Antwerpen / +32 (0)486 83 63 98 www.grandcafedesingel.be www.moreau-pianoservice.be Bachs Johannespassie Irdisches Vergnügen in Gott Op Goede Vrijdag van het jaar 1749 dirigeerde Johann Sebastian Bach voor het laatst zijn Johannespassie in Leipzig, de stad waar hij sinds 1723 cantor was aan de befaamde Thomasschool en -kerk. -
Brochure Cvg 2019-2020
COLLEGIUM 2019–2020 VOCALE ARTISTIEK DIRECTEUR GENT PHILIPPE HERREWEGHE COLLEGIUM VOCALE GENT SEIZOEN 2019 | 2020 1 INHOUD Voorwoord 04 Bach Educatief 10 Linzer Mis 12 Einstein on the Beach 14 De Blinden 18 Kanon Pokajanen 22 Schicksalslied 24 Verspro della Beata Vergine 26 Weihnachts-Oratorium 28 50 jaar Collegium Vocale Gent 30 Bach Academie Brugge 32 Die Schöpfung 40 Johannes-Passion 42 Matthäus-Passion 44 Dolcissima mia vita 46 Faust Szenen 48 Zomerfestivals 53 In residentie 55 New releases 56 Vrienden 57 Mecenaat 58 Contact 61 VOORWOORD Beste Lezer, Wanneer U deze folder in de hand zal nemen, staan we met Collegium Vocale Gent aan de vooravond van een wel erg bijzonder seizoen. In 2020 vieren we namelijk onze 50e verjaardag! Het was immers in september 1970 dat Philippe Herreweghe startte met de eerste repetities en concerten van Collegium Vocale Gent. Wie had kunnen denken dat deze haast uit de hand gelopen studentenhobby 50 jaar later is uitgegroeid tot één van de meest tot de verbeelding sprekende muziekgezelschappen van het ogenblik voor de uitvoering van vocale klassieke muziek?! We hebben alvast een hele reeks, bijzondere projecten uitgewerkt om deze halve eeuw uitvoerig te vieren, maar meer hierover zal u later uitgebreid in onze aparte brochure kunnen lezen die integraal over dit feestjaar zal gaan. Ondertussen hebben we echter nog een heleboel andere programma’s in het verschiet tijdens de eerste helft van het seizoen om naar uit te kijken. Of wat dacht u van de uitvoering van de bijzonder mooie Mis in e voor blazers en koor van Anton Bruckner in de loop van de maand september, het enigma- tische Kanon Pokajanen van Arvo Pärt onder leiding van de Letse dirigent Kaspars Putnins in oktober, de herneming van de succesvolle productie met 04 de Mariavespers van Claudio Monteverdi in november (en die ons onder meer naar China en Zuid-Korea zal brengen) of de integrale uitvoering van het Weinachts-Oratorium van J.S. -
Rotem Gilbert to Conduct
February 2018 • Volume XXXXIV • Number 6 2017–2018 Officers Our next meeting of the 2017–2018 season is President Win Aldrich Friday, February 9, 2018 [email protected] Meeting: 7:30 pm 909-625-7722 Trinity Episcopal Church Vice President, Membership 2400 Canal Street in Orange, California Development Open—looking for volunteers Vice President Hospitality Rotem Gilbert to Conduct Jim Forrest Recorder player Rotem Gilbert is a native of [email protected] Haifa, Israel and a founding member of 626-333-3443 Ciaramella, an ensemble specializing in music of Secretary/Newsletter the 15th and 16th centuries. Ciaramella has Open—looking for volunteers performed throughout the United States, in Treasurer Belgium, Germany, and Israel, and released a Susan Mason CD on the Naxos Label, and two recordings [email protected] with Yarlung Records. Their recent CD Dances 949-733-3397 on Movable Ground has earned 5 stars by the Workshop Program British magazine Early Music Today and was picked the Win Aldrich, Coordinator Editor’s Choice, lauded for its “expressive fluidity and [email protected] rhythmic vitality”. She was a member of Piffaro (1996-2007), 909-625-7722 and has appeared with many early music ensembles in the Gloria Martin United States and in Europe. Rotem has been featured as a [email protected] soloist for the Pittsburgh Opera, the LA Opera, Musica Angelica 909-626-5001 and the LA Phil. After studies on recorder at Mannes College of Lee Waggener [email protected] Music in New York with Nina Stern, she earned her solo 909-624-0236 diploma from the Scuola Civica di Musica of Milan where she Bill Waggener studied with Pedro Memelsdorff. -
September 2016 – July 2017
SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music. -
Dietrich Buxtehude Sacred Cantatas
Dietrich Buxtehude Sacred Cantatas Collegium AD MOSAM, Huub Ehlen 1. Jesu meines Lebens Leben (BuxWV 62) 06:31 2. Befiehl dem Engel, daß er komm (BuxWV 10) 05:08 3. Fürwahr, er trug unsere Krankheit (BuxWV 31) 10:13 4. Gott, hilf mir (BuxWV 34) 14:32 5. Der Herr ist mit mir (BuxWV 15) 07:09 6. Herzlich lieb hab ich dich, o Herr (BuxWV 41) 18:17 TOTAL 61:51 Collegium AD MOSAM Huub Ehlen Soloists: Soprano 1 Hannah Morrison (1, 2, 3, 4, 5, 6) Soprano 2 Hayat Chaoui (1, 3, 4, 6) Alto Hanna Kopra (1, 2, 3, 4, 5, 6) Tenor Immo Schröder (1, 2, 3, 4, 5, 6) Basses Michiel Meijer (1, 3, 4, 6) Benoît Giaux (2, 4, 5, 6) Choir: Soprano 1 Beppie Boode Soprano 2 Anita Koolen Alto Mireille Hoogenberk-Rooijmans Tenors Jan Berkers, Hans Timmermans Basses Jo Louppen, Wim Reijnders Orchestra: Trumpets Anna Freeman, Ralph Henssen (6) Violins Andreas Hempel, Heidi Erberich (1, 2, 3, 4, 5, 6) Violas Arjen de Graaf, Marie Haag (1, 4, 6) Gambas Maaike Boekholt, Christian Zincke (3) Violone Hendrik-Jan Wolfert (1, 2, 3, 4, 5, 6) Theorbo Michael Dücker (1, 2, 3, 4, 5, 6) Organ Tineke Steenbrink (1, 2, 3, 4, 5, 6) 3 Dietrich Buxtehude – Sacred Cantatas Dietrich (Diederik) Buxtehude (Oldesloe 1637 – Lübeck 1707) came from a respectable Danish family of organists. He must have received his initial musical training from his father Johannes, for 30 years organist at the Saint Olau Church in Helsingor. After his study in Copenhagen – we know very little of his musical education – he should, by tradition, have succeeded his father in Helsingor, but it seems the young man had greater ambition.