Js Bach the Complete Solo Soprano Cantatas, Vol. 1
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Dame Emma Kirkby Soprano
Dame Emma Kirkby Soprano Originally, Emma Kirkby had no In 2009 BIS issued a compilation entitled expectations of becoming a professional "The Artistry of Emma Kirkby", drawing on singer. As a classics student at Oxford and nine CDs in all. then a schoolteacher she sang for pleasure in choirs and small groups, In 1999 Emma was voted Artist of the Year always feeling most at home in by Classic FM Radio listeners; in 2000 she Renaissance and Baroque repertoire. She received the Order of the British Empire, joined the Taverner Choir in 1971 and in and 2007 saw her appointed a Dame 1973 began her long association with the Commander of the Order of the British Consort of Musicke. Emma took part in the Empire. She was delighted in June 2008 to early Decca Florilegium recordings with return to her alma mater, Oxford both the Consort of Musicke and the University, and receive an Honorary Academy of Ancient Music, at a time when Doctorate of Music. Most surprisingly of most college-trained sopranos were not all, BBC Music Magazine, April 2007, in a seeking a sound appropriate for early survey of critics to find “The twenty instruments. She therefore had to find her greatest sopranos”, placed Emma at own approach, with enormous help from number 10. While such media flurries Jessica Cash in London, and from the can be discounted as parochial, partial, directors, fellow singers and controversial, and outdated as soon as instrumentalists with whom she has they appear, she was pleased at the worked over the years. recognition this implied for an approach to singing where ensemble, clarity and Emma feels privileged to have been able to stillness are valued alongside the more build further long-term relationships with usual features of volume and display. -
Concerts Streaming on Demand
CONCERTS STREAMING ON DEMAND ‘PURE PLEASURE’ THE GUARDIAN | BBC MUSIC MAGAZINE THE INDEPENDENT | THE TIMES INSPIRING AUDIENCES WITH PASSIONATE PERFORMANCES www.armonico.org.uk Registered charity no. 1103159 These recordings were made possible by generous support from the Weston Culture Fund and the Arts Council / DCMS Culture Recovery Fund Streaming VICTORIA REQUIEM on Demand The final work by Tomas Luis de Victoria, and his greatest and final polyphonic work, his requiem or ‘Officium Defunctoum’ is an intensely expressive masterpiece. The mass in six parts was written in 1605 for the funeral of the daughter of Spanish Emperor Charles V and represents the pinnacle BRAND NEW of both Victoria’s art and Spanish Renaissance polyphony. Possibly the STREAMING ON DEMAND most human of all musical settings of the Requiem Mass, the emotional RELEASE DATE: 08 MARCH 21 | £7.50 While we’re waiting in the wings to return to the concert hall, gravitas of the text is communicated www.armonico.org.uk/ondemand Armonico Consort is bringing the music to you and crucially, with profound sensitivity. keeping our musicians in work. Streaming We are launching a brand new series of performances which will be available to on Demand stream on demand for you to enjoy from your own living room. The concerts NAKED BYRD I & II have been beautifully filmed and feature some of the choir’s favourite early music Armonico Consort presents an repertoire, starting on Monday 8 March with the glorious Renaissance masterpiece atmospheric performance of the music Victoria’s Requiem and our hugely successful Naked Byrd I programme. -
May 2018 List
May 2018 Catalogue Issue 25 Prices valid until Wednesday 27 June 2018 unless stated otherwise 0115 982 7500 [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, Glorious sunshine and summer temperatures prevail as this foreword is being written, but we suspect it will all be over by the time you are reading it! On the plus side, at least that means we might be able to tempt you into investing in a little more listening material before the outside weather arrives for real… We were pleasantly surprised by the number of new releases appearing late April and into May, as you may be able to tell by the slightly-longer-than-usual new release portion of this catalogue. Warner & Erato certainly have plenty to offer us, taking up a page and half of the ‘priorities’ with new recordings from Nigel Kennedy, Philippe Jaroussky, Emmanuel Pahud, David Aaron Carpenter and others, alongside some superbly compiled boxsets including a Massenet Opera Collection, performances from Joseph Keilberth (in the ICON series), and two interesting looking Debussy collections: ‘Centenary Discoveries’ and ‘His First Performers’. Rachel Podger revisits Vivaldi’s Four Seasons for Channel Classics (already garnering strong reviews), Hyperion offer us five new titles including Schubert from Marc-Andre Hamelin and Berlioz from Lawrence Power and Andrew Manze (see ‘Disc of the Month’ below), plus we have strong releases from Sandrine Piau (Alpha), the Belcea Quartet joined by Piotr Anderszewski (also Alpha), Magdalena Kozena (Supraphon), Osmo Vanska (BIS), Boris Giltberg (Naxos) and Paul McCreesh (Signum). -
Greensleeves
GREENSLEEVES INTRODUCTION Shortly after this introduction, I studied nationalism in music with Robin Holloway, an FOLK MUSIC OF THE BRITISH ISLES In its very early days, the singers of Armonico eminent composer. Robin encouraged us to Consort travelled the length and breadth of understand how deeply rooted in other countries the UK performing small scale programmes was their folk music heritage. From this for Festivals and Music Clubs – it was during heritage, music from countries such as Russia 1 Lisa Lân Traditional, arr. Geoffrey Webber [2.49] the second half of these concerts (Glory of and Czechoslovakia have an easily identifiable 2 The Blue Bird Charles Villiers Stanford [3.59] Old England/Magic of Madrid/There’s Something colour, emotion and musical language. 3 The Banks of my own Lovely Lee Traditional, arr. Geoffrey Webber [5.50] about Mary etc) that we developed our love Countries across the globe, from Germany to 4 She Moved Through the Fair Traditional, arr. Toby Young [3.23] for singing arrangements of folk songs from Italy, and Spain to France all had their own 5 Lay a Garland Robert Pearsall [4.38] the British Isles. The audience reactions have language. Following the death of Purcell, 6 Sweet Kitty Traditional, arr. Geoffrey Webber [3.20] always been so striking, and when asked why this was not the case with music from the UK, 7 Suo Gân Traditional, arr. Toby Young [3.11] we have not developed a programme of folk that is not until Vaughan Williams and 8 I Love my Love Traditional, arr. Gustav Holst [4.29] music in its own strength, we have never had a Elgar began their work. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
J.E. Gardiner (SDG
Johann Sebastian Bach 1685-1750 Cantatas Vol 27: Blythburgh/Kirkwall SDG138 COVER SDG138 CD 1 50:01 For Whit Tuesday Brandenburg Concerto No.3 BWV 1048 Erwünschtes Freudenlicht BWV 184 Er rufet seinen Schafen mit Namen BWV 175 Lisa Larsson soprano, Nathalie Stutzmann alto Christoph Genz tenor, Stephen Loges bass CD 2 61:26 For Trinity Sunday Höchsterwünschtes Freudenfest BWV 194 C Es ist ein trotzig und verzagt Ding BWV 176 M O heil’ges Geist- und Wasserbad BWV 165 Y Gelobet sei der Herr, mein Gott BWV 129 K Ruth Holton soprano, Daniel Taylor alto Paul Agnew tenor, Peter Harvey bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage Holy Trinity, Blythburgh, 13 June 2000 St Magnus Cathedral, Kirkwall, 18 June 2000 Soli Deo Gloria Volume 27 SDG 138 P 2008 Monteverdi Productions Ltd C 2008 Monteverdi Productions Ltd www.solideogloria.co.uk Edition by Reinhold Kubik, Breitkopf & Härtel Manufactured in Italy LC13772 8 43183 01382 1 27 SDG 138 Bach Cantatas Gardiner Bach Cantatas Gardiner CD 1 50:01 For Whit Tuesday The Monteverdi Choir The English Flutes 1-3 12:07 Brandenburg Concerto No.3 BWV 1048 Baroque Soloists Marten Root Sopranos Rachel Beckett in G major / G-dur Suzanne Flowers First Violins 4-9 21:47 Erwünschtes Freudenlicht BWV 184 Gillian Keith Kati Debretzeni Recorders Emma Preston-Dunlop Penelope Spencer Rachel Beckett 10-16 15:51 Er rufet seinen Schafen mit Namen BWV 175 Katharine Fuge Sarah Bealby-Wright Marion Scott Elisabeth Priday Matthew Truscott Catherine -
St John's Smith Square Our History
St John’s Smith Square © Matthew Andrews Square Smith John’s St THANK YOU! ST JOHN’S SMITH SQUARE St John’s Smith Square is very grateful to all the Friends, —— Companies and Trusts and Foundations who have generously supported our work during the 2015/16 Season. “Just to come across it in —— that quiet square is an event. J Allen W Halon P Privitera C J Apperley Angela and David Harvey Kenneth Robbie To enter it, to enjoy its spaces, Michael Archer Hay Kenelm Robert Alain Aubry A Herrero-Ducloux The RVW Trust to listen to fine music within its Anonymous Dr S Hill Chris Saunders Dr J Baker Prof Sean Hilton Donna Schofield walls is an experience not to be Dennis Baldry The Hinrischen Foundation Philip Searl Hannah Baldwin A L Hoile Baroness Sharples matched in conventional concert David Ballance Colin Howard E Siebert Mr and Mrs Dickie S Hughes B W Silverman halls and is a lasting tribute to Bannenberg Ingenious Lynne Simmons M Barrell J A James B Singleton the man who designed it.” Dr Desmond Bermingham G Jenkins Judy Skelton B Bezant Glenn Jessee L A Skilton Sir Hugh Casson Michel-Yves Bolloré M Joekes Sarah-Jane Sklaroff Antoine Bommelaer Christopher Jones Dr Martin Smith Michael Bowen Jacqueline Kilgour Philip and Wendy Spink P Bowman Jocelyn Knight Steinway & Sons Sir Alan and Lady Bowness R Lab Daniel Stephens Clare Bowring Andrew Langley Samuel D P Stewart Joanna Brendon Jane Law Marilyn Stock Ian Brown In memory of J.P Legrand Ilona Storey C Brunell Alan Leibowitz D Sugden Burberry Adrian Lewis John Taylor Inside cover & page 1 -
Classical Era, 99 Then Got His Amanuensis to Make a Clear Version, Which Was A-R Editions, Inc
Early Music Review EDITIONS OF MUSIC of Music. André published parts in 1800 in Offenbach and two years later Breitkopf produced a set in Leipzig. Handel: Neun deutsche Arien... Nine As usual, it seems pointless to add fingering, since anyone reaching the ability of playing it ought to know how his/ German Arias for Soprano, Solo her fingers work – and if you are sight-reading it for fun, Instrument and Basso continuo... fingering is a superfluous requirement. The score and parts Edited by Ullrich Scheideler are available from Breitkopf – not the 1802 version but the G. Henle Verlag (968). new edition (EB 10787). ix +42pp +parts for solo instrument, basso and continuo €16.00 Clifford Bartlett he ‘German Arias’ were intended to be published Emanuel Aloys Förster: Six String in vol. 49 of Chrysander’s complete edition in Quartets. Op. 7 Tthe 1890s. Henle has now produced a cheap but Edited by Nancy November thoroughly edited version. Normally Handel wrote quickly Recent Researches in Music of the Classical Era, 99 then got his amanuensis to make a clear version, which was A-R Editions, Inc. then reproduced several times and sometimes he had it xx+226pp printed. In this case, it seems that Handel sent his only $240.00 copy to Germany. The Henle edition certainly looks better than the ones hese six four-movement works (in A, F, D, B flat, I have (or rather, used to have). It consists of a score and G and E flat major respectively) were dedicated separate booklets for the solo instrument (not specified, Tto Friedrich Wilhelm, the cello-playing Prussian though ad lib for violin, recorder or oboe) with smaller- king who had inspired Mozart and Haydn to write music stave for voice, basso (single stave), and continuo with the for him. -
Mass in C Minor Performances of Two Academy of St Martin Fine Choral Works from in the Fields Two Masters of the Baroque Era
CORO CORO Vivaldi: Gloria in D Fauré: Requiem Bach: Magnificat in D Mozart: Vespers Harry Christophers Elin Manahan Thomas MOZART The Sixteen Roderick Williams Harry Christophers Resounding The Sixteen Mass in C minor performances of two Academy of St Martin fine choral works from in the Fields two masters of the Baroque era. “…the sense of an ecstatic movement towards cor16057 cor16042 cor16057 Paradise is tangible.” the times Handel: Messiah Barber: Agnus Dei 3 CDs (Special Edition) An American Collection Carolyn Sampson Barber, Bernstein, Catherine Wyn-Rogers Copland, Fine, Reich, Mark Padmore del Tredici Christopher Purves “The Sixteen are, as “…this inspiriting new usual, in excellent form performance becomes here. Recording and a first choice.” remastering are top- notch.” Gillian Keith the daily telegraph notch.” cor16062 cor16031 american record guide Tove Dahlberg Harry Christophers Thomas Cooley To find out more about CORO and to buy CDs visit Handel and Haydn Society Nathan Berg www.thesixteen.com cor16084 ne of the many delights of being of your seat” suspense that one feels in the exquisite ‘Et incarnatus est’ and it OArtistic Director of America’s is well worth that risk. One can never achieve this degree of concentration and oldest continuously performing arts total immersion in the music whilst in the recording studio; whatever mood is organization, the Handel and Haydn set, subconsciously we always know we can have another go at it. Society, is that I am given the opportunity to present most of our concert season at I feel very privileged to take this august Society towards its Bicentennial; yes, the Handel and Haydn Society was founded in 1815. -
Download Booklet
The opportunity to record a disc of Handel’s course, but the very first operatic aria I knew and HANDELIAN PYROTECHNICS operatic arias came to me very early on in my life. learnt was ‘Art thou troubled? Music will calm GEORGE FRIDERIC HANDEL (1685-1759) I turned it down. As far as self-promotion and thee’: a not-very-faithful English rendering of general career-advancement were concerned, I ‘Dove sei’ from Handel’s Rodelinda. My choices could see how useful such a recording might be. for this recording have thus been guided by what Artistically-speaking I could not feel comfortable is significant to me, as well as their general with it. At this stage I had performed only a excellence. ‘Se possono tanto’ may seem obscure Xerxes, HWV 40 Rodelinda, regina de’ Longobardi, HWV 19 couple of Handel’s operatic roles on stage and I to some, but Poro was my first ever Handel role, 1 Ombra mai fù [3.11] 7 Dove sei [4.44] had found them a stern examination of technique, and I really need no excuse to include what is, stamina and emotional reserves. I resolved along with ‘Qual nave smaritta’ and ‘Dove sei’, Poro, re dell’Indie, HWV 28 Radamisto, HWV 12 therefore to aim to revisit this concept only when I a shining illustration of how frequently and 2 Se possono tanto due luci vezzose [5.45] 8 Qual nave smarrita [6.12] had performed a significant number of his operas, skilfully Handel uses the radiance of E major for 9 Ombra cara [7.44] and to choose repertoire for a recording that I a character’s defining aria. -
Autumnm 4–20 September 2021 Two Weeks of World-Class Music Welcome Saturday 4 September
AutumnM 4–20 September 2021 two weeks of world-class music www.newburyspringfestival.org.uk Welcome Saturday 4 September After the most challenging time in the Domnich in an evening about Festival’s history, it gives me enormous Rachmaninov. British soprano Ruby pleasure to finally welcome you back Hughes returns in two contrasting Bach St Matthew Passion to this year’s Newbury (not Spring events, Heroines of Love and Loss and Armonico Consort but Autumn) Festival, where many of later as part of a quartet of outstanding the concerts we had been looking singers in an evening of arias, ensembles International star tenor Ian Bostridge, famous throughout the world for his forward to last year, and plenty more, and songs under the direction of the performances as the Evangelist, joins the finest period instrumentalists and singers will take place, most in our largest festival’s Chorus Master Tom Primrose. of Armonico Consort to bring Bach’s masterpiece to life. A work of genius, combining venues, Newbury Corn Exchange and We have had to postpone the return of the most perfectly formed recitative interpolated with Bach’s most beautiful arias, St Nicolas Church, our Festival Chorus to next year, but the St Matthew Passion reflects on the emotional drama from the story of the It seems appropriate that Bach’s there are still many choral concerts to Passion of Christ. incomparable St Matthew Passion with look forward to: Armonico Consort in Whatever your own spiritual beliefs, everyone should hear it at least once, and there’s renowned Evangelist Ian Bostridge Bach’s St Matthew Passion, Carice no more immediate way to experience it than in this performance by Armonico should open the Festival as a Singers in a mostly English programme, Consort. -
G.F.Handel German Arias Trio Sonatas Florilegium with Gillian Keith Soprano Florilegium Director Ashley Solomon
CHANNEL CLASSICS CCS 35117 G.F.Handel German Arias Trio Sonatas Florilegium with Gillian Keith soprano Florilegium Director Ashley Solomon Florilegium egular performances in some of the world’s most prestigious venues have confirmed Florilegium’s status as one of Britain’s most outstanding period instrument ensembles. RSince their formation in 1991 they have established a reputation for stylish and exciting Ashley Solomon interpretations, from intimate chamber works to large-scale orchestral and choral repertoire. flute: after Palanca, by Martin Wenner, 2005 Bojan Cicic violin: Ruggieri, Cremona, c.1680 (kindly loaned by Jumpstart Junior Foundation) Jennifer Morsches cello: Anonymous, Italian Tyrol, c.1720 Terence Charlston harpsichord: Kirckman, London, 1766 (from the collection of the late Christopher Hogwood) Florilegium: Terence Charlston , Ashley Solomon, Bojan Cicic and Jennifer Morsches [ 3 ] Florilegium regularly collaborate with some of the world’s finest singers in programmes from the Gillian Keith 17th and 18th centuries. Concert venues include Sydney Opera House, Esplanade (Singapore), Teatro Colon (Buenos past winner of both the prestigious Kathleen Ferrier Award and the rosl Singing Prize, Aires), Concertgebouw (Amsterdam), Konzerthaus (Vienna), Beethoven-Haus (Bonn), Handel- and a distinguished graduate of the Royal Academy of Music, soprano Gillian Keith Haus (Halle) and Frick Collection (New York). A made her Royal Opera‚ Covent Garden debut as Zerbinetta in Strauss’ Ariadne auf Naxos Among the numerous residencies Florilegium have held was Ensemble-in-Residence at and has gone on to repeat the role with great success at Ópera de Oviedo and Welsh National London’s Wigmore Hall from 1998 to 2000, performing several series of concerts each year and Opera.