Media Kit English Motets
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HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009
CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009 “Overall, this disc ranks as The Sixteen’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone Choruses HANDEL: Dixit Dominus cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – Agostino Steffani’s Stabat Mater. THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set. The Sixteen To find out more about CORO and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in Samson; the Israelites triumph in their victory over Goliath with great pageantry in How excellent Thy name from Saul and we can all feel the exuberance of I will sing unto the Lord from Israel in Egypt. There are, of course, two Handel oratorios where the choruses dominate – Messiah and Israel in Egypt – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for oratorio, his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when Jephtha commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses. -
8Th RESIDENTIAL SUMMER MUSIC ACADEMY
13th – 20th July 2013 CANDILI, EUBOEA, GREECE 8th RESIDENTIAL SUMMER MUSIC ACADEMY Applications are invited to Singers and Lute Players, to attend a week of Masterclasses, Lessons, Concerts, and related activities, with the Counter-Tenor, Michael Chance, in the historic and stunning setting of Candili, on the Island of Euboea (Εύβοια), Greece. As in the past, there will be a range of musical activity, with ample opportunity to attend classes, have private tuition, work with accompanists, perform daily, and enjoy leisure time on the famed estate. The landscape around Candili is idyllic, with natural forest, mountains, and beaches all close by. Michael Chance We are delighted to welcome our distinguished friends, Lyric Soprano Lynne Dawson, Head of the School of Vocal Studies at RNCM, Manchester, UK, Lutenist Paul Beier, with whom Michael regularly performs, and the experienced Alexander Technique teacher Fiona Tree, of the Royal Conservatorium in The Hague, Holland. There will be harpsichord and piano accompaniment available for singers in lessons and classes. The cost will be 700 Euros for the full week or 350 Euros for the final days (Thursday morning, 18th July – Saturday evening, 20th July), during which the final concert will take place. This covers Lynne Dawson accommodation, three daily meals, and all tuition. Single rooms may be possible by arrangement. The cost for non-participating partners, or friends, will be 65 Euros per day, on a room-sharing basis. You are invited to send your application, using the form at http://www.michaelchancecountertenor.co.uk/masterclasses/ Please include a short biography, and singing experience. Successful applicants will then receive more details about the content of the course, and the request to pay a registration fee of 50 Euros, by bank transfer. -
Extract from Text
DISCOVER CHORAL MUSIC Contents page Track List 4 A Brief History of Choral Music , by David Hansell 13 I. Origins 14 II. Early Polyphony 20 III. The Baroque Period 39 IV. The Classical Period 68 V. The Nineteenth Century 76 VI. The Twentieth Century and Beyond 99 Five Centuries of Choral Music: A Timeline (choral music, history, art and architecture, literature) 124 Glossary 170 Credits 176 3 DISCOVER CHORAL MUSIC Track List CD 1 Anon (Gregorian Chant) 1 Crux fidelis 0.50 Nova Schola Gregoriana / Alberto Turco 8.550952 Josquin des Prez (c. 1440/55–c. 1521) 2 Ave Maria gratia plena 5.31 Oxford Camerata / Jeremy Summerly 8.553428 John Taverner (c. 1490–1545) Missa ‘Gloria Tibi Trinitas’ 3 Sanctus (extract) 5.28 The Sixteen / Harry Christophers CDH55052 John Taverner 4 Christe Jesu, pastor bone 3.35 Cambridge Singers / John Rutter COLCD113 4 DISCOVER CHORAL MUSIC Thomas Tallis (c. 1505–1585) 5 In manus tuas, Domine 2.36 Oxford Camerata / Jeremy Summerly 8.550576 William Byrd (c. 1540–1623) 6 Laudibus in sanctis 5.47 Oxford Camerata / Jeremy Summerly 8.550843 Giovanni Pierluigi da Palestrina (c. 1525/6–1594) Missa ‘Aeterna Christi Munera’ 7 Agnus Dei 4.58 Oxford Camerata / Jeremy Summerly 8.550573 Tomás Luis de Victoria (1548–1611) 8 O magnum mysterium 4.17 Oxford Camerata / Jeremy Summerly 8.550575 Claudio Monteverdi (1567–1643) Vespers of the Blessed Virgin 9 Laudate pueri Dominum 6.05 The Scholars Baroque Ensemble 8.550662–63 Giacomo Carissimi (1605–1674) Jonas 10 Recitative: ‘Et crediderunt Ninevitae…’ 0.25 11 Chorus of Ninevites: ‘Peccavimus, -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland. -
View/Download Liner Notes
INTRODUCTION two former soprano members of Tenebrae (Julia COUPERIN LEÇONS DE TÉNÈBRES Doyle and Grace Davidson) have returned to join GESUALDO TENEBRAE RESPONSORIES Some of the most atmospheric music from the four of our current members (Jeremy Budd, David FOR MAUNDY THURSDAY numerous Liturgical settings in Holy Week is de Winter, Gabriel Crouch and Jimmy Holliday). that composed for the Office of Tenebrae. Victoria’s are the most well-known, but equally Also harking back to my days as a singer, my beautiful and arguably more dramatic are other favourite music to sing at Easter time the settings composed by Gesualdo. They have (Bach Passions aside) were Couperin’s beautiful Trois Leçons de Ténèbres Second Nocturn an intensity unrivalled in most music of that and mesmerising settings of some of the other François Couperin (1688-1733) 7 Amicus meus osculi [3.24] time owing to the extraordinary and sudden texts from the Tenebrae Offices. I first came 8 Judas mercator pessimus [2.30] 1 Première Leçon JD [16.40] harmonic shifts, which at times sound almost across this music in a wonderfully atmospheric 9 Unus ex discipulis meis [3.56] 2 Seconde Leçon GD [12.05] contemporary, and rhythmic outbursts led film all about another French composer, 3 JD (I) GD (II) on occasion by a single word. As a result the Marin Marais: Tous les matins du monde. The Troisième Leçon [12.08] Third Nocturn listener is always kept on their toes, waiting soundtrack to the film features heavily the • Grace Davidson Soprano Julia Doyle Soprano 0 Eram quasi agnus innocens [5.17] • for the next wild change of direction. -
Tallis's Spem in Alium
Spem in Alium – a comparatively review of fourteen recordings by Ralph Moore Background We know less about Thomas Tallis than Shakespeare or any other major cultural figure of the Tudor age; definite facts are few and reasonable inferences and conjectures are many, starting even with the dates of his birth – presumed to be around 1505 - and death - either 20th or 23rd November, 1585. The exact site of his grave in the chancel of the parish of St Alfege Church, Greenwich, is lost. We have no authenticated portrait. What we do know is that despite being a recusant Catholic, he not only survived those perilous times but prospered under a succession of Protestant monarchs, the sole Catholic being Edward VII’s sister Mary, who reigned for only five years, from 1553-1558. He was so valued and respected that Elizabeth gave him the lease on a manor house and a handsome income, and in 1575 he and his pupil William Byrd were granted an exclusive royal patent to print and publish polyphonic music. The key to his survival must lie in his discretion, flexibility and, above all, prodigious talent: he is indubitably one of the greatest English composers of his or any age and a towering figure in Renaissance choral music. His masterpiece is certainly the forty-voice motet Spem in alium but here again, verified facts regarding its origin and first performance are few. The original manuscript is lost and our knowledge of the work is derived from another score prepared for the investiture in 1610 of James I’s elder son, Henry, as Prince of Wales, and used again for the coronation in 1625 of his younger brother, Charles I, next in line to the throne after Harry’s death in 1612 from typhoid fever at eighteen years old. -
London's Symphony Orchestra
London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July. -
Pdf Read the Wigmore Hall 2015/16 Season Overview
Wigmore Hall’s 115th season – including a landmark survey of Schubert’s songs and major artist residencies – begins tomorrow Season highlights include: Iestyn Davies and The English Concert in the opening concert Schubert: The Complete Songs launches a two-season survey of the composer’s complete Lieder Celebrating Magdalena Kožená series includes first UK recital with Sir Simon Rattle, who makes his Wigmore Hall debut Bartók Chamber Music series Borodin Quartet perform a Beethoven and Shostakovich Cycle Jean-Guihen Queyras is Wigmore Hall’s Artist in Residence for 2015/16 Igor Levit Series and Introducing James Baillieu underline Wigmore Hall’s commitment to outstanding young artists Henry Purcell: A Retrospective includes Iestyn Davies and Andreas Scholl in recital and concerts by The Sixteen, Vox Luminis and Trevor Pinnock Conclusion of Wigmore Hall’s The Mozart Odyssey Christian Gerhaher: Singer in Residence The Sixteen Residency Friedrich Cerha Focus Day explores Austria’s leading composer Haydn and Dvořák Series from the Eggner Trio Llŷr Williams continues Beethoven Piano Sonata Cycle Elīna Garanča makes her Wigmore Hall debut Adventurous artistic projects and world-class performers supply the essential spirit of Wigmore Hall’s 2015/16 Season. The new artistic programme, which begins tomorrow (Saturday 12 September), offers audiences the chance to explore a vast range of repertoire and to experience profound interpretations from great musicians and emerging artists alike. Wigmore Hall’s place at the heart of British and international cultural life is reflected in a programme as rich and diverse as any on the global concert scene, boldly projected in the 2015/16 Season’s opening week and reinforced over its course with landmark series, compelling artist residencies and recitals destined to attract capacity audiences. -
EC-Bach Perfection Programme-Draft.Indd
THE ENGLISH CONCE∏T 1 CONCERT PROGRAMME JS Bach - In Search of Perfection 2019 – 2020 London Season Tuesday 25 February 7.30pm Wigmore Hall, London 2 3 WELCOME PROGRAMME Wigmore Hall, More than any composer in history, Bach The English Concert 36 Wigmore Street, Orchestral Suite No 4 in D Johann Sebastian Bach is renowned Laurence Cummings London, W1U 2BP BWV 1069 Director: John Gilhooly for having frequently returned to his Guest Director / The Wigmore Hall Trust own music. Repurposing and revising it Bach Harpsichord Registered Charity for new performance contexts, he was Sinfonia to Cantata 35: No. 1024838. Lisa Beznosiuk Geist und Seele wird verwirret www.wigmore-hall.org.uk apparently unable to help himself from Flute Disabled Access making changes and refinements at Bach and Facilities Tabea Debus Brandenburg Concerto No 5 in D every level. Recorder BWV 1050 Tom Foster In this programme, we explore six of Wigmore Hall is a no-smoking INTERVAL Organ venue. No recording or photographic Bach’s most fascinating works — some equipment may be taken into the Sarah Humphrys auditorium, nor used in any other part well known, others hardly known at of the Hall without the prior written Bach Recorder permission of the Hall Management. all. Each has its own story to tell, in Sinfonia to Cantata 169: Wigmore Hall is equipped with a Tuomo Suni ‘Loop’ to help hearing aid users receive illuminating Bach’s working processes Gott soll allein mein Herze haben clear sound without background Violin and revealing how he relentlessly noise. Patrons can use the facility by Bach switching their hearing aids over to ‘T’. -
Dame Sarah Connolly Mezzo-Soprano Joseph Middleton
Dame Sarah Connolly mezzo-soprano Joseph Middleton piano Julia Mariko Smith soprano Christopher Pulleyn piano Sunday 25 April 2021 6.00pm Leeds Town Hall PROGRAMME Julia Mariko Smith and Christopher Pulleyn – Momentum Artists Richard Strauss From Mädchenblumen, Op.22 Mohnblumen Epheu Edvard Grieg From Sechs Lieder, Op. 48 Zur Rosenzeit Claude Debussy From Proses Lyriques, L84 De Soir From Recueil Vasnier, L44 Musique Dame Sarah Connolly and Joseph Middleton Gustav Mahler Songs from Des Knaben Wunderhorn Rheinlegendchen Das irdische Leben Wo die schönen Trompeten blasen Urlicht Ernest Chausson Poème de l’amour et de la mer La fleur des eaux Interlude La mort de l’amour John Ireland Earth’s Call E J Moeran Twilight Ivor Gurney By a Bierside Thou didst delight mine eyes Edward Elgar Sea Pictures, Op. 37 Sea Slumber Song In Haven (Capri) Where Corals Lie Sabbath Morning at Sea Leeds Lieder Concert Season 2020-21 Momentum Programme Julia Mariko Smith soprano Christopher Pulleyn piano Richard Strauss (1864-1949) from: Mädchenblumen Mohnblumen Poppies Mohnblumen sind die runden, Poppies are the round, Rothblutigen, gesunden, Red-blooded, healthy girls, Die sommersproß-gebraunten, Freckled brown by the sun, Die immer froh gelaunten, Always cheerful, Kreuzbraven, kreuzfidelen, Tremendously good, tremendously loyal, Tanz-nimmermüden Seelen, Who never tire of dancing, Die unterm Lachen weinen, Who cry while laughing, Und nur geboren scheinen, Who seem to be born Die Kornblumen zu necken, Only to tease the cornflowers, Und dennoch oft verstecken And -
BUCKINGHAMSHIRE POSSE COMITATUS 1798 the Posse Comitatus, P
THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 The Posse Comitatus, p. 632 THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 IAN F. W. BECKETT BUCKINGHAMSHIRE RECORD SOCIETY No. 22 MCMLXXXV Copyright ~,' 1985 by the Buckinghamshire Record Society ISBN 0 801198 18 8 This volume is dedicated to Professor A. C. Chibnall TYPESET BY QUADRASET LIMITED, MIDSOMER NORTON, BATH, AVON PRINTED IN GREAT BRITAIN BY ANTONY ROWE LIMITED, CHIPPENHAM, WILTSHIRE FOR THE BUCKINGHAMSHIRE RECORD SOCIETY CONTENTS Acknowledgments p,'lge vi Abbreviations vi Introduction vii Tables 1 Variations in the Totals for the Buckinghamshire Posse Comitatus xxi 2 Totals for Each Hundred xxi 3-26 List of Occupations or Status xxii 27 Occupational Totals xxvi 28 The 1801 Census xxvii Note on Editorial Method xxviii Glossary xxviii THE POSSE COMITATUS 1 Appendixes 1 Surviving Partial Returns for Other Counties 363 2 A Note on Local Military Records 365 Index of Names 369 Index of Places 435 ACKNOWLEDGMENTS The editor gratefully acknowledges the considerable assistance of Mr Hugh Hanley and his staff at the Buckinghamshire County Record Office in the preparation of this edition of the Posse Comitatus for publication. Mr Hanley was also kind enough to make a number of valuable suggestions on the first draft of the introduction which also benefited from the ideas (albeit on their part unknowingly) of Dr J. Broad of the North East London Polytechnic and Dr D. R. Mills of the Open University whose lectures on Bucks village society at Stowe School in April 1982 proved immensely illuminating. None of the above, of course, bear any responsibility for any errors of interpretation on my part. -
Proms 2005 1
Themes and anniversaries Proms themes and anniversaries • The Sea Four of the most famous sea overtures are • Fairy Tales programmed throughout the season: Berlioz’s • End of the Second World War overture The Corsair (Prom 1) sets the Proms • Anniversaries season off to a piratical start, Mendelssohn’s ‘The Hebrides’ overture (Prom 11) and Wagner’s overture to The Flying Dutchman The Sea (Prom 59) are two of the most evocative yet concise musical illustrations of storm-ridden Two hundred years on from Nelson’s seascapes, and Walton’s Portsmouth Point momentous victory over the French in the Overture gives yet another naval perspective to Battle of Trafalgar, and 100 years after Debussy the Last Night. composed La mer, the Proms takes as one of its key themes the inspiration the sea has Sir John Eliot Gardiner, his Monteverdi afforded to composers through the ages. Choir and English Baroque Soloists perform Haydn’s ‘Nelson’ Mass as the centrepiece Henry Wood’s Fantasia on British Sea-Songs – a of an all-Haydn Late Night Prom (Prom 7). staple of the Last Night of the Proms – was Formally entitled Missa in angustiis (Mass in composed in 1905 specifically to celebrate the time of Peril), it was written in 1798 when the centenary of Nelson’s triumph.This year, war against revolutionary France was at a low marking the work’s own centenary, the Proms ebb. Stanford’s Songs of the Sea draw on the restores Wood’s authentic naval bugle-calls, glories of England’s naval past with settings of which herald the regular sequence of poems by Sir Henry Newbolt (Prom 35).