Castor & Pollux
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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. -
Frederic Albou, Bass-Baritone
Frederic Albou, bass-baritone 0033 1 46 63 88 19 0033 6 80 12 63 99 http://www.fredericalbou.com/ [email protected] After graduating in literature, musicology and conducting, and receiving an award from the CNR of Reims in clarinet, Frédéric Albou started to study singing with Christiane Patard, and worked with such coaches as Janine Reiss, Marie-Jeanne Serero, Olivier Reboul, Erika Guiormar, Jory Vinikour and Brigitte Clair. He also improved his mastery under the advices of Jorge Chamine, Teresa Berganza, Ruggero Raimondi, Alain Fondary, Sergei Leiferkus, Eva Märtson, Anna Ringart, Russel Smythe and Howard Crook. He has been trained as an actor by Ruth Ortmann, Roberto Maria Grassi and Catherine Riboli, and practises Chinese martial arts with Master Tien Shue. His is a passionate and committed path dedicated to a wide repertoire. Thus since 1999 he is a member of the Ensemble Kerylos, devoted to Ancient Greek musical scores, founded and conducted by Annie Bélis, with whom he has premiered several works (Medea by Karkinos, Hymn to Lemnos, by Euripides, Abstract from Theseus by Sophokles, Nequia from the Oslo Papyrus, Hymn to Apollo from the Yale Papyrus), and has performed in such renowned venues as the Grand Amphitheatre de la Sorbonne, the Auditorium du Louvre, or Lyon’s Archaeological Museum. Together with that band he also recorded several radio and television broadcasted programmes, and is to prepare a new double CD. He has also performed Renaissance polyphonic music, particularly with the Huelgas Ensemble, conducted by Paul Van Nevel, with whom he sang in various European festivals (Saintes, Noirlac, Tongeren), and recorded the CD Sommets de la polyphonie flamande (Harmonia Mundi). -
Berlioz's Les Nuits D'été
Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board. -
Le Temple De La Gloire
april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire . -
L'air Français, Un Art Intime
©Denis Rouvre ©Philippe Parent Les Arts Florissants – William Christie L’air français, un art intime Conciertos en seis ciudades de América Latina Les Arts Florissants presentan su primera gira en América Latina desde 2004: L’air français, un art intime El aria francesa, un arte íntimo Al final del reinado de Louis XIV; cambia el estilo de vida aristocrático, y el desarrollo de los salons da como resultado una vuelta de la sociedad elegante desde Versalles a París. Este fue el inicio de una nueva era socio-cultural: en música, esto provocó una evolución en la ambición y el formato. Aunque las formas a gran escala, sobre todo la Tragedia – lírica, continuaron siendo los modelos más avanzados para el entretenimiento de la corte, un arte más confidencial se desarrollaba, favoreciendo formas más modestas, como la sonata. En el ámbito de la música vocal, el air de cour se había vuelto muy popular desde el siglo XVI, y se le unió, a principios del XVIII, un nuevo género: La cantate. Esta forma se extendió a través de los círculos musicales franceses, coexistiendo con la más Antigua y muy en boga: cantata Italiana. La cantate francesa se distinguía de su prima italiana por su estilo, heredado de la tragédie lyrique, y en particular por la atención puesta en el texto. Estas obras eran la quintaesencia de “el buen gusto francés”, combinando los delicados ritmos de elocuencia poética con graciosas melodías. Estas arias à la française eran cantadas por uno o dos cantantes, acompañados de un clave, al que se le podían unir varios instrumentos: flauta, violín, viola, por ejemplo. -
Les Talens Lyriques the Ensemble Les Talens Lyriques, Which Takes Its
Les Talens Lyriques The ensemble Les Talens Lyriques, which takes its name from the subtitle of Jean-Philippe Rameau’s opera Les Fêtes d’Hébé (1739), was formed in 1991 by the harpsichordist and conductor Christophe Rousset. Championing a broad vocal and instrumental repertoire, ranging from early Baroque to the beginnings of Romanticism, the musicians of Les Talens Lyriques aim to throw light on the great masterpieces of musical history, while providing perspective by presenting rarer or little known works that are important as missing links in the European musical heritage. This musicological and editorial work, which contributes to its renown, is a priority for the ensemble. Les Talens Lyriques perform to date works by Monteverdi (L'Incoronazione di Poppea, Il Ritorno d’Ulisse in patria, L’Orfeo), Cavalli (La Didone, La Calisto), Landi (La Morte d'Orfeo), Handel (Scipione, Riccardo Primo, Rinaldo, Admeto, Giulio Cesare, Serse, Arianna in Creta, Tamerlano, Ariodante, Semele, Alcina), Lully (Persée, Roland, Bellérophon, Phaéton, Amadis, Armide, Alceste), Desmarest (Vénus et Adonis), Mondonville (Les Fêtes de Paphos), Cimarosa (Il Mercato di Malmantile, Il Matrimonio segreto), Traetta (Antigona, Ippolito ed Aricia), Jommelli (Armida abbandonata), Martin y Soler (La Capricciosa corretta, Il Tutore burlato), Mozart (Mitridate, Die Entführung aus dem Serail, Così fan tutte, Die Zauberflöte), Salieri (La Grotta di Trofonio, Les Danaïdes, Les Horaces, Tarare), Rameau (Zoroastre, Castor et Pollux, Les Indes galantes, Platée, Pygmalion), Gluck -
Rameau's Imaginary Monsters: Knowledge, Theory, And
Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte et Aricie Author(s): Charles Dill Source: Journal of the American Musicological Society, Vol. 55, No. 3 (Winter 2002), pp. 433- 476 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/10.1525/jams.2002.55.3.433 . Accessed: 04/09/2014 11:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. http://www.jstor.org This content downloaded from 128.104.46.206 on Thu, 4 Sep 2014 11:26:08 AM All use subject to JSTOR Terms and Conditions Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte etAricie CHARLES DILL dialectic existed at the heart of Enlightenment thought, a tension that sutured instrumentalreason into place by offering the image of its irra- JL A1tional other. Embedded within the rationalorder of encyclopedicen- terpriseslay the threat posed by superstition,both religious and unlettered; contained and controlled by the solid foundations of social contractswas the disturbing image of chaos, evoked musically by Jean-FeryRebel and Franz Joseph Haydn, and among the nobly formed figures of humankind and nature there lurked deformity and aberration,there lurked the monster. -
Evening Program
2021 18:30 & 20:30 24.04.Grand Auditorium Samedi / Samstag / Saturday Voyage dans le temps «Rameau: une symphonie imaginaire» Les Musiciens du Louvre Marc Minkowski direction Ce concert sera filmé et disponible ultérieurement sur la chaîne YouTube ainsi que la page Facebook de la Philharmonie Luxembourg. Jean-Philippe Rameau (1683–1764) Zaïs: Ouverture (1748) Castor et Pollux: Scène funèbre (1737) Les Fêtes d’Hébé: Air tendre (1739) Dardanus: Tambourins (1739) Le Temple de la Gloire: Air tendre pour les Muses (1745) Les Boréades: Contredanse (1763) La Naissance d’Osiris: Air gracieux (1754) Les Boréades: Gavottes pour les Heures et les Zéphirs (1763) Platée: Orage (1745) Les Boréades: Prélude (1763) Concert N° 6 en sextuor: 1. La Poule (1768) Les Fêtes d’Hébé: Musette & Tambourin (1739) Hippolyte et Aricie: Ritournelle (1733) Naïs: Rigaudons (1749) Les Indes galantes: Danse des Sauvages (1735) Les Boréades: Entrée de Polymnie (1763) Les Indes galantes: Chaconne (1735) 60’ Les Boréades, œuvre posthume de Jean-Philippe Rameau, 1764, Origine: Manuscrit Bibliothèque Nationale de France, Paris. Rés.Vmb Ms4. Copyright 1982, 1998 et 2001 Alain Villain, Éditions Stil, Paris D’Distanzknuddler Martin Fengel Une symphonie du cœur Sylvie Bouissou Immense génie déconnecté des conventions sociales, souvent en décalage avec son époque, d’abord trop italien pour les lullistes, puis plus assez pour les adeptes de l’opéra-comique, trop « savant » pour avoir du cœur, Rameau a subi les goûts versatiles, les amours et les trahisons d’une société inconstante. Sans doute faut-il voir dans la remarque de d’Alembert, coauteur avec Diderot de l’En- cyclopédie, le commentaire le plus éclairé sur sa musique : « Il a osé tout ce qu’il a pu, et non tout ce qu’il aurait voulu oser […] il nous a donné non pas la meilleure musique dont il était capable, mais la meil- leure que nous puissions recevoir » (Mélanges de littérature, d’histoire et de philosophie, t. -
A Performance of Biblical Proportions News of the Society by Reba Wissner President’S Message
The Newsletter of the Society for Seventeenth-Century Music Vol. 21, No. 2, Spring 2012 AMS 2011: A Tasting Menu by Virginia Christy Lamothe an Francisco is a city that reflects a provided an exciting setting for the seventy- provide a taste of the exciting goods on confluence of cultures, especially in seventh annual meeting of the American offer in San Francisco. Smusic. The 1920s saw the beginnings Musicological Society, November 10–13, On Thursday afternoon, a session of the city’s first opera company, now the 2011. Presentations capturing the diversity dedicated to French music included a second largest in North America. In the of seventeenth-century music and scholarly presentation by Rebekah Ahrendt that 1960s, the City (as it is known in the Bay approaches to it were heard throughout offered a unique view of the “chanson à Area) became a hub for counter-cultural the conference. Continuing a recent trend danser” as a vehicle for acting out different music of the “hippie” generation. Today toward avoidance of chronological “ghet- social classes through speech, music, and music from around the world in every tos” in favor of topic-based, mixed-period dance. That evening, a panel sponsored genre can be heard at historic venues, sessions, the papers relevant to the Society by the Committee on Women and Gender including the Fillmore, the Great American were scattered throughout the program, investigated conformity in aspects of gender, Music Hall, the Palace of Fine Arts, and the often appearing in simultaneous sessions. racial, and class differences. On this panel, War Memorial Opera House. -
Castor & Pollux
JEAN-PHILIPPE RAMEAU CASTOR & POLLUX (1754) Ainsworth | Sempey | De Negri | Margaine | Devieilhe | Immler PYGMALION RAPHAËL PICHON FRANZ LISZT JEAN-PHILIPPE RAMEAU (1683-1764) CD 2 Scène 4. Pollux, Hébé, une Suivante d’Hébé, Plaisirs célestes (Suite d’Hébé) CASTOR & POLLUX (version de 1754) 1 | Entrée d’Hébé et de sa suite 1’24 Tragédie en musique en 5 actes 2 | Chœur des Plaisirs célestes : Pouvez-vous nous méconnaître ? 0’45 Livret Pierre-Joseph Bernard (Gentil-Bernard) 3 | Pollux : Tout l’éclat de l’Olympe 0’24 4 | Petit chœur des Suivantes d’Hébé : Qu’Hébé, de fleurs toujours nouvelles 0’55 5 | Sarabande pour Hébé et sa Suite 1’12 CD 1 6 | Une Suivante d’Hébé : Voici des dieux 1’52 7 | Pollux : Ah ! Sans le trouble où je me vois 0’28 8 | Air pour Hébé. Une Suivante d’Hébé : Que nos jeux 3’23 1 | Ouverture 4’24 9 | Première et deuxième gavottes pour Hébé 1’36 PREMIER ACTE 10 | Récit Quand je romps vos aimables chaînes 0’51 2 | Scène 1. Cléone, Phébé. Cléone : L’hymen couronne votre sœur 4’16 3 | Scène 2. Télaïre : Éclatez mes justes regrets 2’40 QUATRIÈME ACTE 4 | Scène 3. Télaïre, Castor. Castor : Ah ! Je mourrai content 3’12 Scène 1. Phébé, [Esprits, Puissances magiques] 5 | Scène 4. Pollux, Télaïre, Castor. Pollux : Non, demeure, Castor 1’50 11 | Phébé & Chœurs : Esprits soutiens de mon pouvoir 2’40 12 | Descente de Mercure 0’14 Scène 5. Pollux, Télaïre, Castor, Spartiates. Pollux : Ces apprêts m’étaient destinés 13 | Mercure, Phébé, Pollux. Mercure : 1’25 6 | Chœur de Spartiates : Chantons l’éclatante victoire 1’44 Scène 2. -
Rameau, Jean-Philippe
Rameau, Jean-Philippe (b Dijon, bap. 25 Sept 1683; d Paris, 12 Sept 1764). French composer and theorist. He was one of the greatest figures in French musical history, a theorist of European stature and France's leading 18th-century composer. He made important contributions to the cantata, the motet and, more especially, keyboard music, and many of his dramatic compositions stand alongside those of Lully and Gluck as the pinnacles of pre-Revolutionary French opera. 1. Life. 2. Cantatas and motets. 3. Keyboard music. 4. Dramatic music. 5. Theoretical writings. WORKS BIBLIOGRAPHY GRAHAM SADLER (1–4, work-list, bibliography) THOMAS CHRISTENSEN (5, bibliog- raphy) 1. Life. (i) Early life. (ii) 1722–32. (iii) 1733–44. (iv) 1745–51. (v) 1752–64. (i) Early life. His father Jean, a local organist, was apparently the first professional musician in a family that was to include several notable keyboard players: Jean-Philippe himself, his younger brother Claude and sister Catherine, Claude's son Jean-François (the eccentric ‘neveu de Rameau’ of Diderot's novel) and Jean-François's half-brother Lazare. Jean Rameau, the founder of this dynasty, held various organ appointments in Dijon, several of them concurrently; these included the collegiate church of St Etienne (1662–89), the abbey of StSt Bénigne (1662–82), Notre Dame (1690–1709) and St Michel (1704–14). Jean-Philippe's mother, Claudine Demartinécourt, was a notary's daughter from the nearby village of Gémeaux. Al- though she was a member of the lesser nobility, her family, like that of her husband, included many in humble occupations. -
François Couperin: Lumière Et Ombre Sunday 14 January 2018, Milton Court Concert Hall
François Couperin: Lumière et Ombre Sunday 14 January 2018, Milton Court Concert Hall 2pm Concert 1: Lumière 3.30pm Panel Discussion Andrew McGregor, Berta Joncus and Christophe Rousset discuss the music of Couperin Ignacio Barrios Martinez Ignacio 7pm Concert 2: Ombre Céline Scheen soprano Eugénie Warnier soprano Les Talens Lyriques Gilone Gaubert-Jacques violin Kaori Uemura-Terakado viola da gamba Christophe Rousset harpsichord/organ/director Part of Barbican Presents 2017–18 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre François Couperin: Lumière et Ombre Sun 14 Jan Milton Court Concert Hall 2pm Concert 1: Lumière François Couperin Les Goûts-réunis – Cinquième Concert Trois Airs sérieux Pièces de clavecin – Septième Ordre Troisième Concert royal Eugénie Warnier soprano Gilone Gaubert-Jacques violin Kaori Uemura-Terakado viola da gamba Christophe Rousset harpsichord/director 3.30pm Panel Discussion Andrew McGregor, Berta Joncus and Christophe Rousset discuss the music of Couperin Free to ticket holders 7pm Concert