DOCSLIB.ORG

Mass of Blessed John Henry Newman Strathclyde Motets II New Choral Music by James Macmillan Directed by Alan Tavener Discover Th

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mass of Blessed John Henry Newman Strathclyde Motets II New Choral Music by James Macmillan Directed by Alan Tavener Discover Th ALSO AVAILABLE ON LINN RECORDS CKD 383 New Choral Music by James MacMillan including the Mass of Blessed John Henry Newman Strathclyde Motets II CAPPELLA NOVA CANTY JAMES MacMILLAN : TENEBRAE CARMINA CELTICA CKD 301 CKD 378 Discover the world of Linn Records Download at www.linnrecords.com Now you can explore Linn music on-line with even greater ease by using our innovative download facility. Linn albums and tracks are available to download at Studio Master and CD quality – the quality you desire to achieve the best possible sound. MP3 downloads are also available. linnrecords.com is a multi-format music delivery system that delivers music on vinyl, CD and download. Register online today at www.linnrecords.com to keep up to date about our latest releases and to find out more about our artists. LINN, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ UK t: +44 (0)141 303 5027 f: +44 (0)141 303 5007 e: [email protected] directed by Alan Tavener New Choral Music by James MacMillan directed by Alan Tavener 1. And lo, the Angel of the Lord (4.39) soprano: 2. Qui meditabitur* (5.25) Frances Cooper 3. O Radiant Dawn* (4.17) Micaela Haslam Christina Sampson 4. Lux aeterna* (3.44) Recorded at the Church of the Holy Rude, Stirling UK Rebecca Tavener 5. Os mutorum* (4.28) – Canty & William Taylor from the 2nd–4th November 2010 Emma Versteeg 6. Bring us, O Lord (6.03) Produced and engineered by Philip Hobbs Julia Wilson-James 7. Canticle of Zachariah* (3.42) Post-production by Julia Thomas at Finesplice, UK Design & ‘Angel’ photos by John Haxby 8. Benedictus Deus (4.50) alto: Angel photos taken at Lawnswood Cemetary, Leeds 9. Advent Antiphon (4.23) – John Kitchen organ Ruth Gibbins Anne Lewis Cover photo: The cloister (photo) by French School, 10. Pascha nostrum immolatus est* (4.24) Daniel Keating-Roberts (12th century) Fontenay Abbey, Montbard, Burgundy, France/ 11. Who are these Angels? (5.52) – Edinburgh Quartet Richard Wyn-Roberts Bildarchiv Steffens/ The Bridgeman Art Library Nationality 12. Think of how God loves you (2.31) Cappella Nova is extremely grateful to the following donors 13. Benedicimus Deum caeli* (3.03) tenor: Malcolm Bennett for their generous financial support:- * Strathclyde Motets II Graham Neal CHERUBIM: Anonymous; Colin & Kathleen McPhail; David Murie Mass of Blessed Tom Phillips ANGELS: Anonymous; Una Campbell; Jane Dawson; Ashley Turnell Andrea Jack; Louise Laing; Margaret MacKay; John Henry Newman – John Kitchen organ Derek Mickel; Jane Ridder-Patrick; David Shapton; bass: Mairi & Gerry Sigerson; Beatrice Wickens; 14. Kyrie (1.16) James Birchall James Yarbrough 15. Gloria (2.45) Edward Caswell The recording was subsidised by Creative Scotland. 16. Sanctus (2.01) Paul Charrier Photos by: Edinburgh Quartet – Marc Marnie 17. (0.50) Acclamation John Milne John Kitchen – Delphian Records Ltd 18. Agnus Dei (1.55) Alan Tavener – Sue Osmond James MacMillan – courtesy of Arena PAL 19. Tota pulchra es (4.33) – John Kitchen organ Canty – John Haxby TOTAL TIME : 72.08 WHO ARE THESE ANGELS? : 2 WHO ARE THESE ANGELS? : 3 James MacMillan talks to Rebecca Tavener about his choral music… is still very fluid and that one can actually make one’s mark on the development of church music according to authentic practices, as I would now see it. REBECCA TAVENER: This is, in many ways, the resumption of our previous conversation REBECCA TAVENER: There’s a very wide range of styles and techniques in the set, from the published in the album booklet for Tenebrae, and that connection is cantus firmus in’ Lux aeterna’ to chord-sequences and rhythms that evoke the emphasised by the inclusion of the second and final set of seven Strathclyde English Carol in ‘Canticle of Zachariah’, all given your personal creative stamp - Motets. Looking back on this second set and on the series as a whole, do you is that part of the process, this interest in referencing the past? have particular favourites or do any hold a particular significance? JAMES MACMILLAN: I think it is, yes, and now there’s an encouragement to do so because, JAMES MACMILLAN: There’s one that I’ve heard many times, my own choir sings it and when you do look at the documents, you realise that they suggest that one it has been taken up all over the place, and that’s ‘O Radiant Dawn’ – it’s on digs deeply into the tradition and draws on it for sustenance in the modern YouTube sung by an American choir, for example. The one I haven’t heard very age. This is what Pope Benedict XVI is all about in his ‘Spirit of the Liturgy’, often is ‘Pascha nostrum’ – the most challenging of the set - and I’m kind of there’s an encouragement to regard high points of the Church’s musical history interested most in the ones I haven’t heard very much! such as classic polyphony and earlier, right back to Gregorian roots, as a kind The whole point is that amateur choirs should be able to sing them, but of paradigm for Catholic music, ‘the very sound of Catholicism’ as I have heard it’s good to have within the body of fourteen works pieces that anybody could Gregorian Chant described. It can be kept alive in the modern age – a practical do as well as others that people can strive towards. consideration, and also an ideological and spiritual consideration. The whole purpose of it right from the beginning, from the initial REBECCA TAVENER: A review of your one-act opera Clemency described you as ‘MacMillan discussions between Brendan1 and Alan about how it was going to work and the Magpie’ – how do you feel about that? benefit the Chaplaincy, St Columba’s and the Strathclyde University Chamber JAMES MACMILLAN: I don’t mind at all. I’m very open to instincts and influences from lots Choir, meant it was a very special process. It gave benefit to the University of places and always have been. as well – these are all institutions I feel very attached to, I have an honorary REBECCA TAVENER: doctorate from Strathclyde University and we went to their chaplaincy as a We chose ‘Who are these Angels?’ as the title track on this album for family for a number of years – it’s been a very happy project for many reasons. a number of reasons, not least among those being its mysterious and intriguing atmosphere. The idea of separating out a single voice (in this case two-part REBECCA TAVENER: Did the Strathclyde Motets mark the beginning of a more focussed soprano and alto moving in homophony) to comment on more complex approach to liturgical music? Where does it stand in your output? polyphony reminded me of Renaissance motets by Christobal de Morales such JAMES MACMILLAN: I’ve always written for choirs but I would say that my more focussed as ‘Emendemus in melius’ and ‘Andreas Christi famulus’. How did this work interest began in the mid-decade, 2004/5, with a thought towards Roman come about? Catholic liturgy: the state of it and its potential; its tradition and how I might JAMES MACMILLAN: It’s complicated – the Latin setting was written as a separate motet contribute to it as a composer myself. That meant not just thinking about when I was seventeen and still at school. I tried to sing it with two friends in a advanced and easy choral music but also very, very simple congregational local church and it then lay in a cupboard along with a lot of other material. I’ve music and how that fitted into the tradition. It got me thinking and reading a been in the process of finding that music again, but I didn’t think it was ready great deal, studying liturgy, reading the documents from Vatican II and realising as it stood – I wanted to expand it in some ways. Your mention of Clemency what had happened in the last forty years, and understanding that the situation is very appropriate here because this music ends up in the opera. Michael2 1. Fr Brendan Slevin OP, RC Chaplain of Strathclyde University. 2. The poet Michael Symmons Roberts, librettist of Clemency. WHO ARE THESE ANGELS? : 4 WHO ARE THESE ANGELS? : 5 and I were working on the Abraham and Sarah story and I wanted a scene of REBECCA TAVENER: Another recent commission from an English group of long-standing is transcendence in the centre. The angels in the opera don’t sing in Latin but in a ‘Bring us, O Lord’ written for Schola Cantorum of Oxford. Alan sang with them made-up language, a quasi onomatopoeic, sonic deconstruction but with also as a student, so I know he particularly relished this connection. Your treatment a kind of strange Aramaic influence thrown in, and so the only bit that survives of this anthem, with its profoundly moving text by one of the greatest of English in its original form is the ‘who are these angels’ phrase for Abraham and Sarah. Protestant divines, John Donne, seems very deliberately English, with a distant In the opera its meaning is clear, but in the motet it is quite mysterious evocation of Edwardian repertoire such as Parry’s ‘Songs of Farewell’. with the Lenten Latin text interrupted by the question. I like it in both forms. JAMES MACMILLAN: All that’s in the mix; I’ve got to know and enjoy that period of music The motet entirely pre-dates the opera. It was commissioned for De very much and it’s what choral singers learn as a very necessary part of the Doelen, Rotterdam, by Neil Wallace (and Aberdeen University) and it was his British choral scene, of course.
Load more

Recommended publications
  • CHAN 10092 BOOK.Qxd 23/4/07 10:52 Am Page 2
    CHAN 10092 Front.qxd 23/4/07 10:51 am Page 1 CHAN 10092 CHANDOS james macmillan into the ferment • the berserking • britannia premiere recording martin roscoe piano CHAN 10092 BOOK.qxd 23/4/07 10:52 am Page 2 James MacMillan (b. 1959) 1 Britannia (1994) 12:42 The Berserking (1989)* 31:22 Andrew FarringtonAndrew A Concerto for Piano and Orchestra 2 e = 140+ Energico – 9:10 3 q = 60 – 12:52 4 e = 104 9:20 premiere recording Into the Ferment (1988, revised 2002) 23:27 for ensemble and orchestra 5 ‘The Storm’ – 1:43 orchestra and ensemble 6 ‘Here are we met, three merry boys’ – 2:26 3 orchestral trombones and ensemble 7 ‘In dispraise of whisky’ – 1:56 orchestra only 8 ‘We are na’ fou’!’ – 3:03 ensemble only James MacMillan 9 ‘It is the moon, I ken her horn’ – 2:57 orchestra and ensemble 3 CHAN 10092 BOOK.qxd 23/4/07 10:52 am Page 4 MacMillan: Into the Ferment etc. Listeners who know James MacMillan But the central idea behind all three works is 10 ‘Three merry boys again’ (sometime later) – 2:25 through his most popular works – such as not religious exultation, but other, much more orchestra only The Confession of Isobel Gowdie (1990) for worldly kinds of intoxication: the hyped-up, 11 ‘Wha’ first shall rise to gang awa’’ – 2:58 orchestra or the percussion concerto Veni, Veni, alcohol-fuelled exhilaration of a football crowd ensemble only Emmanuel (1992) – will no doubt have a clear in The Berserking (1989), the swaggering self- 12 ‘Man to man… shall brithers be…’ – 3:41 understanding of this composer’s central beliefs aggrandisement of militant nationalism in orchestra only and concerns.
    [Show full text]
  • Symphony 04.22.14
    College of Fine Arts presents the UNLV Symphony Orchestra Taras Krysa, music director and conductor Micah Holt, trumpet Erin Vander Wyst, clarinet Jeremy Russo, cello PROGRAM Oskar Böhme Concerto in F Minor (1870–1938) Allegro Moderato Adagio religioso… Allegretto Rondo (Allegro scherzando) Wolfgang Amadeus Mozart Clarinet Concerto in A Major, K. 622 (1756–1791) Allegro Adagio Rondo: Allegro Edward Elgar Cello Concerto, Op. 85 (1857–1934) Adagio Lento Adagio Allegro Tuesday, April 22, 2014 7:30 p.m. Artemus W. Ham Concert Hall Performing Arts Center University of Nevada, Las Vegas PROGRAM NOTES The Concerto in F minor Composed 1899 Instrumentation solo trumpet, flute, oboe, two clarinets, bassoon, four horns, trumpet, three trombones, timpani, and strings. Oskar Bohme was a trumpet player and composer who began his career in Germany during the late 1800’s. After playing in small orchestras around Germany he moved to St. Petersburg to become a cornetist for the Mariinsky Theatre Orchestra. Bohme composed and published is Trumpet Concerto in E Minor in 1899 while living in St. Petersburg. History caught up with Oskar Bohme in 1934 when he was exiled to Orenburg during Stalin’s Great Terror. It is known that Bohme taught at a music school in the Ural Mountain region for a time, however, the exact time and circumstances of Bohme’s death are unknown. Bohme’s Concerto in F Minor is distinguished because it is the only known concerto written for trumpet during the Romantic period. The concerto was originally written in the key of E minor and played on an A trumpet.
    [Show full text]
  • AN ANALYSIS of “SEVEN LAST WORDS from the CROSS” (1993) by JAMES MACMILLAN by HERNHO PARK DISSERTATION Submitted in Partial
    AN ANALYSIS OF “SEVEN LAST WORDS FROM THE CROSS” (1993) BY JAMES MACMILLAN BY HERNHO PARK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor Barrington Coleman, Chair Professor Carlos Carrillo, Director of Research Professor Michael Silvers Professor Fred Stoltzfus ABSTRACT James MacMillan is one of the most well-known and successful living composers as well as an internationally active conductor. His musical language is influenced by his Scottish heritage, the Catholic faith, and traditional Celtic folk music, blended with Scandinavian and European composers including Olivier Messiaen (1908-1992), Alfred Schnittke (1943-1998), and Igor Stravinsky (1882-1971). His cantata for choir and strings Seven Last Words from the Cross, was commissioned by BBC (British Broadcasting Corporation) television, composed in 1993, and premiered in 1994 by Cappella Nova and the BT (British Telecom) Scottish Ensemble. While this piece is widely admired as one of his best achievements by choral conductors and choirs, it is rarely performed, perhaps due to its high level of difficulty for both the string players and singers. The purpose of this dissertation is to present an analysis of the Seven Last Words from the Cross by James MacMillan aimed to benefit choral conductors rather than audiences. Very little has been written about MacMillan's choral works. My hope is to establish a foundation on which future scholars may expand and explore other choral works by MacMillan.
    [Show full text]
  • Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected]
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Millikin, Jeanne, "Scholarly Program Notes of Selected Trumpet Repertoire" (2011). Research Papers. Paper 157. http://opensiuc.lib.siu.edu/gs_rp/157 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES OF SELECTED TRUMPET REPERTOIRE BY Jeanne Millikin B.M., Southern Illinois University Carbondale, 2008 Research Submitted in Partial Fulfillment for MASTER OF MUSIC Department of Music in the Graduate School Southern Illinois University Carbondale August 2011 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON SELECTED TRUMPET REPERTOIRE By Jeanne Millikin A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Music in the field of Music Performance Approved by: Dr. Robert Allison, Chair Mr. Edward Benyas Dr. Richard Kelley Graduate School Southern Illinois University Carbondale July 11, 2011 AN ABSTRACT OF THE RESEARCH PAPER OF JEANNE MILLIKIN, for the Master of Music degree in TRUMPET PERFORMANCE, presented on APRIL 7, 2011, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR SELECTED TRUMPET REPERTOIRE MAJOR PROFESSOR: Dr. Robert Allison The purpose of this research paper is to provide insight and research to five selected compositions in which the trumpet plays a soloistic or significant role.
    [Show full text]
  • Jordan Alfredson, Bassoon Brenda Brent, Piano
    Kennesaw State University College of the Arts School of Music presents Senior Recital Jordan Alfredson, bassoon Brenda Brent, piano Saturday, April 19, 2014 2:00 p.m. Music Building Recital Hall One Hundred Tenth Concert of the 2013-14 Concert Season Program GORDON JACOB (1895-1984) Concerto for Bassoon I. Allegro II. Adagio III. Allegro giocoso GABBIER NOËL-GALLON (1891-1966) Récit et Allegro WILLSON OSBORNE (1906-1979) Study for Bassoon (original 1952 version) JOHANN BAPTIST WANHAL (1739-1813) Concerto for Two Bassoons I. Allegro Moderato Shelby Jones, bassoon FRANCIS POULENC (1899-1963) Trio for Oboe, Bassoon, and Piano I. Presto II. Andante III. Rondo Alejandro Sifuentes, oboe This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Alfredson studies bassoon with Laura Najarian. Program Notes Concerto for Bassoon GORDON JACOB (1895-1984) This reduction of Gordon Jacob’s Concerto for Bassoon, Strings and Percussion consists of three movements in which Jacob takes full advantage of the bassoon’s potential for comedy, while also exploring its more lyrical side. The cheerful first movement begins with a scale that is progressively taken apart and put back to- gether. A middle interlude creates a slightly heavier mood while the soloist takes up a more melancholy theme. But, after a period of quickening, the cheerful opening theme returns. In the second movement, the piano provides an ethereal accompa- niment of a gentle, plaintive melody played by the bassoon. The third movement is an exciting presentation of the bassoon's technical abilities. A slower middle section again displays Jacob’s more emotional side.
    [Show full text]
  • Mariinsky Orchestra
    CAL PERFORMANCES PRESENTS PROGRAM A NOTES Friday, October 14, 2011, 8pm Pyotr Il’yich Tchaikovsky (1840–1893) fatalistic mockery of the enthusiasm with which Zellerbach Hall Symphony No. 1 in G minor, Op. 13, it was begun, this G minor Symphony was to “Winter Dreams” cause Tchaikovsky more emotional turmoil and physical suffering than any other piece he Composed in 1866; revised in 1874. Premiere of ever wrote. Mariinsky Orchestra complete Symphony on February 15, 1868, in On April 5, 1866, only days after he had be- Valery Gergiev, Music Director & Conductor Moscow, conducted by Nikolai Rubinstein; the sec- gun sketching the new work, Tchaikovsky dis- ond and third movements had been heard earlier. covered a harsh review in a St. Petersburg news- paper by César Cui of his graduation cantata, PROGRAM A In 1859, Anton Rubinstein established the which he had audaciously based on the same Russian Musical Society in St. Petersburg; a year Ode to Joy text by Schiller that Beethoven had later his brother Nikolai opened the Society’s set in his Ninth Symphony. “When I read this Pyotr Il’yich Tchaikovsky (1840–1893) Symphony No. 1 in G minor, Op. 13, branch in Moscow, and classes were begun al- terrible judgment,” he later told his friend Alina “Winter Dreams” (1866; rev. 1874) most immediately in both cities. St. Petersburg Bryullova, “I hardly know what happened to was first to receive an imperial charter to open me.... I spent the entire day wandering aimlessly Reveries of a Winter Journey: Allegro tranquillo a conservatory and offer a formal
    [Show full text]
  • James Macmillan 29
    premiere recordings a scotch bestiary piano concerto no. 2 wayne marshall bbc philharmonic CHAN 10377 james macmillan 29 CCHANHAN 1103770377 BBOOK.inddOOK.indd 228-298-29 114/8/064/8/06 114:55:414:55:41 James MacMillan (b. 1959) premiere recordings Andrew Farrington Andrew A Scotch Bestiary (2003– 04)* 33:35 Enigmatic variations on a zoological carnival at a Caledonian exhibition for organ and orchestra Dedicated to Gillian Moore MBE I. The menagerie, caged 21:01 1 The book is opened. Andante – 1:28 2 1 Ode to a cro-magnon hyena. Adagio – 2:33 3 A page is turned. Tempo I – 0:42 4 2 Reptiles and Big Fish (in a small pond). Largo – Andante – Largo – Andante – Tempo di valse (Allegro) – Andante – Largo – 1:57 5 3 Her Serene and Ubiquitous Majesty, Queen Bee. Senza misura. Prestissimo possibile, sempre legatissimo – [ ] – Adagio – 2:10 6 Another page is turned. Tempo I – 0:57 7 4 The red-handed, no-surrender, howler monkey. [ ] – Tempo di marcia – 1:36 8 5 Uncle Tom Cat and his Chickens. Adagio – 2:00 9 Yet another page is turned. Tempo I – 0:41 James MacMillan 3 CCHANHAN 1103770377 BBOOK.inddOOK.indd 22-3-3 114/8/064/8/06 114:55:294:55:29 10 6 Scottish Patriots. [ ] – [ ] – Maestoso – 2:11 MacMillan: Piano Concerto No. 2/A Scotch Bestiary 11 7 The Reverend Cuckoo and his Parroting Chorus. [ ] – 1:34 12 8 Jackass Hackass. Prestissimo possibile (moto perpetuo) – 1:41 2004 was the year when Cumnock Fair came to were both having their cake and eating it 13 The book is closed.
    [Show full text]
  • The Glasgow Season 2014/2015
    A World of Music at Glasgow City Halls THE GLASGOW SEASON 2014/2015 BOX OFFICE: 0141-353 8000 bbc.co.uk/bbcsso #bbcssothursday ‘It has been my intention to bring some of the fi nest singers, soloists and conductors to Scotland and to showcase the brilliance, fl exibility and commitment of this remarkable group of musicians.’ THE GLASGOW SEASON 2014/2015 In September 2014 it will be fi ve years since I took up the post of Chief I’m also delighted that this year I’ll be celebrating an important birthday Conductor with this wonderful orchestra. Our relationship continues in Scotland with arguably the fi nest present a conductor could ask for to blossom, and I am immensely proud of our achievements so far. It - Beethoven’s Ninth Symphony. The orchestra and I will be joined by has been my intention to bring some of the fi nest singers, soloists and a world-class line-up of soloists, and our friends the Edinburgh Festival All concerts are scheduled conductors to Scotland and to showcase the brilliance, fl exibility and Chorus, for what promises to be a very memorable occasion. I hope you to be recorded for future commitment of this remarkable group of musicians. The 2014/15 season can be there. transmission or broadcast is no exception. BBC Scottish Symphony Orchestra facebook.com/bbcsso live on BBC Radio 3. Our theme this season in Glasgow is ‘discovery’ so whether you’re a BBC Scotland twitter.com/bbcsso We open with Dmitri Shostakovich’s Tenth Symphony and will later regular subscriber to the Thursday Night Series or an occasional visitor perform his enigmatic Fifteenth, as well as the First Piano Concerto to our wonderful home at City Halls, I’m certain you will fi nd something City Halls, Candleriggs youtube.com/bbcsso with Garrick Ohlsson; we’ll be exploring connections between the new in the evenings ahead to intrigue, delight and surprise you.
    [Show full text]
  • Raphael Wallfisch
    Peter Donohoe Suite 114 Piano Business Design Centre 52 Upper Street London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)20 7359 0112 Concerto Repertoire [email protected] www.ikonarts.com Alwyn, William Piano Concerto No.1 Piano Concerto No.2 Arnold, Malcolm Fantasy on a Theme of John Field Bach, J.S. Concerto No.1 in D minor, BWV 1052 Barber, Samuel Piano Concerto, Op.38 Bartók, Béla Piano Concerto No.1, Sz.83 BB 91 Piano Concerto No.2, Sz.95 BB 10 Piano Concerto No.3, Sz.119 BB 127 Bax, Arnold Symphonic Variations for Piano and Orchestra Beethoven, Ludvig Van Piano Concerto 1, Op.15 Piano Concerto 2, Op.19 Piano Concerto 3, Op.37 Piano Concerto 4, Op.58 Piano Concerto 5, Op.73 Fantasia in C minor, Op.80 Violin Concerto (piano version), Op.61a Berg, Alban Chamber Concerto for Piano, Violin & 13 Wind Instruments Bernstein, Leonard Prelude Fugue & Riffs for Solo Clarinet and Jazz Ensemble Symphony No.2 The Age of Anxiety Bliss, Arthur Piano Concerto in B flat major Concerto for 2 Pianos and Orchestra Brahms, Johannes Concerto No.1, Op.15 Concerto No.2, Op.83 Britten, Benjamin Piano Concerto, Op.13 Diversions for Piano (left hand) and Orchestra, Op.21 Young Apollo, Op.16 Scottish Ballad for 2 Pianos and Orchestra, Op.26 Bush, Alan Africa Piano Concerto Symphony No. 2 Busoni, Ferruccio Piano Concerto, Op.39 Chopin, Frédéric Piano Concerto No.1, Op.11 Piano Concerto No.2, Op.21 [email protected] www.ikonarts.com t: +44 (0)20 7354 9199 Andante Spianato e Gran’ Polonaise Brilliante, Op.22 Darnton, Christian Concertino in C major for Piano and String
    [Show full text]
  • 78R1 MF 0518.Pdf
    CONTENTS CONCERTS ARTISTS 38 Verdi REQUIEM: Friday May 18 19 Juanjo Mena, Principal Conductor 21 Robert Porco, Director of Choruses 46 Bernstein MASS: Saturday May 19 22 May Festival Chorus May Festival Youth Chorus, SING HALLELUJAH: Sunday May 20 27 56 James Bagwell, director 59 JUANJO MENA’S DEBUT: 30 Guest Conductor, Guest Artists Friday May 25 36 Cincinnati Symphony Orchestra Handel MESSIAH: Saturday May 26 67 FEATURES 12 Bernstein’s MASS, Then and Now 15 Celebrating the Musical Legacy of Leonard Bernstein 16 About Otxote Txanbela 17 Q&A with Juanjo Mena 22 Q&A with Robert Porco 29 Q&A with James Bagwell 57 Q&A with Creative Partner Rollo Dilworth DEPARTMENTS 7 Greetings from the Principal Conductor 8 Your Concert Experience 11 Greetings from the Board Chair and Executive Director 75 In Memoriam 76 Choral Student Fund and ArtsWave Partners 76 Special Thanks 77 Cincinnati Musical Festival Association 79 Annual Fund 81 2017 ArtsWave Community Campaign 82 May Festival Subscribers 84 Administration 2 | MAY FESTIVAL 2018 | mayfestival.com MAY FESTIVAL PROGRAM BOOK STAFF: Vice President of Communications Chris Pinelo Director of Communications Diana Maria Lara Communications Assistant Kayla Moore Editor/Layout McKibben Publications Graphic Designer Regina Kuhns All contents © 2018. The contents cannot be reproduced in any manner, whole or in part, without written permission from the May Festival. CINCINNATI MAY FESTIVAL Music Hall Geraldine V. Chavez Center for the Choral Arts ON THE COVER 2018 marks a true 1241 Elm Street homecoming for the May Festival, as it returns to Cincinnati, OH 45202 the beautifully renovated Music Hall—a treasured Administrative Offices: 513.621.1919 National Historic Landmark that was originally [email protected] constructed for the May Festival.
    [Show full text]
  • June 2019 Catalogue Issue 38 Prices Valid Until Friday 26 July 2019 Unless Stated Otherwise
    June 2019 Catalogue Issue 38 Prices valid until Friday 26 July 2019 unless stated otherwise Birmingham Town Hall in an 1830s engraving, 0115 982 7500 similar to that featured on the cover of ‘Mendelssohn in Birmingham vol.5’, released by Chandos this month (CHSA5235). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, Young Norwegian soprano Lise Davidsen has gradually been garnering attention in recent years, perhaps making the leap to a wider awareness following her award of Gramophone’s ‘Young Artist of the Year’ in 2018 and her sublime performance of Strauss’s ‘Morgen’ at the ceremony. Ariadne was her major role last year; 2019 sees her take on the part of Elisabeth in Tannhauser - Zurich and Munich have already had the pleasure and she will be taking it to Bayreuth in July, under the baton of Valery Gergiev in a brand new production. Pleasingly for those of us who won’t manage to catch her live, her debut album on Decca has just been released, featuring two arias from Tannhauser plus orchestral lieder (and one aria) by Richard Strauss. We have been hugely impressed, especially considering her mere 32 years of age, making it a clear choice for Disc of the Month. Please see our website for our full review. Other new releases to highlight for June include a second lieder recital from Decca, performed by none other than Renee Fleming; Hyperion issue the latest in their series of ‘Romantic Violin Concertos’, this volume featuring works by Lassen, Scharwenka and Langgaard; the Vaughan Williams Society offer us his works for viola and piano via the Albion label; the final instalment in the Halle’s superb Ring Cycle (Siegfried) is released on the Halle’s own label; and stunning vocal ensemble Vox Luminis give us a treat in the shape of works by the Bach Family.
    [Show full text]
  • Mozart Requiem: 1OO Voices
    MOZART REQUIEM: 1OO VOICES Lyn Williams Festive Alleluia Lyn Williams OAM is the founder and artistic director of Sydney Children's Choir and the national children's choir, Gondwana Voices. Under her leadership, the Gondwana Choirs organisation has grown to include twenty three ensembles, including the Gondwana Indigenous Children’s Choir. She has conducted most major professional choirs and orchestras in Australia, and has been music director and conductor for a number of major events, including the 2006 Melbourne Commonwealth Games. Lyn is a Churchill Fellow and as a composer won the 2009 APRA–Australian Music Centre Vocal/Choral Work of the Year for her work A Flock of Stars. In 2015, Lyn was named one of The Australian Financial Review and Westpac’s 100 Women of Influence in the category of Culture. What to listen for Alleluia (or Hallelujah) comes from Hebrew and means ‘praise God.’ Lyn Williams composed this joyful processional work for Sydney Children's Choir. Inspired by medieval dance tunes, it alternates between two sections, with the parts at times singing in canon (that is, singing the same melody but starting one after the other). Anonymous Gaudete from Piae Cantiones 1582 The Piae Cantiones was a collection of medieval songs published in Sweden in 1582. They were unknown in England until three hundred years later, when a number of them were set to new words and published as Christmas carols. They included Good Christian Men, Rejoice, and Good King Wenceslas. Gaudete is also a Christmas carol. The words appear in the Piae cantiones, but the tune commonly used was probably composed in the sixteenth century.
    [Show full text]