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Calmus-Washington-Post Review April 2013.Pdf

to discover, nurture & promote young musicians Press: Calmus April 21, 2013 At Strathmore, Calmus Ensemble is stunning in its vocal variety, mastery By Robert Battey Last week, two of Germany’s best musical ensembles — one very large, one very small — visited our area. After the resplendence of the Dresden Staatskapelle on Tuesday at Strathmore, we were treated on Friday to an equally impressive display of precise, polished musicianship by the Calmus Ensemble, an a cappella vocal quintet from Leipzig. Founded in 1999 by students at the St. Thomas Church choir school (which used to be run by a fellow named Bach), Calmus presented a program both narrow and wide: all German works, but spanning more than four centuries of repertoire. The group held the audience at St. Paul’s Episcopal Church in Alexandria nearly spellbound with its artistry. The only possible quibble was that occasionally there was a very slight imbalance in the upper texture; Calmus has only one female member, the alto parts being taken by a countertenor who could not always match the clear projection of the soprano. But in matters of pitch, diction and musical shaping, I’ve never heard finer ensemble singing. From the lively “Italian Madrigals” of Heinrich Schütz, to a setting by Johann Hiller of “Alles Fleisch” (used by Brahms centuries later in “Ein Deutsches Requiem”), to the numinous coloratura of Bach’s “Lobet den Herrn,” to some especially lovely part-songs of Schumann, to a performance-art work written for the group by Bernd Franke in 2010, the quintet met the demands of every piece with cool perfection. “Agnus Dei” and “Nachtlied” by Max Reger were startling: Nothing I’d previously heard by this dour, academic composer prepared me for the airy harmonies that could have come from Brian Wilson. When Calmus returns, which I hope is soon, it should be featured in one of the city’s marquee venues. Concert Artists Guild 850 Seventh Avenue, New York, NY 10019 . Tel.: (212) 333-5200 Fax: (212) 977-7149 . [email protected] . http://www.concertartists.org .

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University of Washington School of Music St. Mark's Cathedral
((J i\A~&!d C\I~ t \LqiJ }D10 I I . I'J. University of Washington School of Music in conjunction with St. Mark's Cathedral November 11-12, 2016 Dr. Carole Terry Wyatt Smith Co-Directors On behalfof the UW School of Music, I am delighted to welcome you to this very special Reger Symposium. Professor Carole Terry, working with her facuIty colleagues and students has planned an exciting program of recitals, lectures, and lively discussions that promise to illuminate the life and uniquely important music of Max Reger. I wish to thank all of those who are performing and presenting as well those who are attending and participating in other ways in our two-day Symposium. Richard Karpen Professor and Director School of Music, University ofWashington This year marks the lOOth anniversary of the death of Max Reger, a remarkable south German composer of works for organ and piano, as well as symphonic, chamber, and choral music. On November J ph we were pleased to present a group of stellar Seattle organists in a concert of well known organ works by Reger. On November 12, our Symposium includes a group of renowned scholars from the University of Washington and around the world. Dr. Christopher Anderson, Associate Professor of Sacred Music at Southern Methodist University, will present two lectures as a part of the Symposium: The first will be on modem performance practice of Reger's organ works, which will be followed later in the day with lecture highlighting selected chamber works. Dr. George Bozarth will present a lecture on some of Reger's early lieder.
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