Bach's Easter Oratorio
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Sebastian Lang-Lessing Chief Conductor & Artistic Director
2 0 0 9 SEBASTIAN LANG-LESSING Chief Conductor & Artistic Director 3 2009 3 HIGHLIGHTS WORLD PREMIERES The TSO and TSO Chorus under conductor Richard Mills gave the world première of Mills’s Passion According to St Mark in Hobart on 4 April, a Ten Days on the Island event. Lux Aeterna, by New Zealand composer Kenneth Young, received its world première under conductor Nicholas Milton in Hobart on 24 July. AUSTRALIAN PREMIERE Elena Kats-Chernin’s Ornamental Air, co-commissioned by the TSO, received its Australian première under conductor Baldur Brönnimann in concerts in Launceston and Hobart on 3 and 5 December. CONTENTS ACOUSTIC UPGRADE Highlights 2 The acoustics in Federation Concert Hall received a significant upgrade thanks to an acoustic screen and purpose- Chairman 4 built risers funded by a special one-off grant from the State Government. Managing Director 4 AUSTRALIAN COMPOSER SERIES VOL 3 TSO Holdings Board of Directors 5 The Hon. Peter Garrett, Federal Minister for the Arts, launched the Australian Composer Series Volume 3 at Moorilla on Strategies, Goals, KPIs 7 31 March. The five-CD box set, which features the music of Gerard Brophy, Brett Dean, Peggy Glanville-Hicks, Concerts 9 Richard Meale and Malcolm Williamson, brings the total number of CDs in the Australian Composer Series to 18. Artists 10 (L-R) Richard Mills, Lyndon Terracini, Core Repertoire Sebastian Lang-Lessing, the Hon. Peter Garrett and Nicholas Heyward. Classical and Early Romantic Music 11 Australian Music 13 CD Releases 14 Recordings 16 Marketing and Business Development 17 Education and Training 17 ABAF AwaRDS Orchestra 19 The TSO took out national honours at the Australia Business Arts Staff 20 Foundation (AbaF) awards in the ‘Giving Award’ category at a ceremony TSO Chorus 20 held in Brisbane on 15 October. -
Choral Evensong
Dean of Chapel The Revd Dr Michael Banner Director of Music Stephen Layton Chaplains The Revd Dr Andrew Bowyer The Revd Kirsty Ross (on Maternity Leave during Easter Term) The Revd Dana English Temporary Chaplain Organ Scholars Alexander Hamilton Asher Oliver CHORAL EVENSONG Sunday 13 May 2018 The Sunday after Ascension Day ORGAN MUSIC BEFORE EVENSONG Alexander Hamilton and Asher Oliver Trinity College Organ Concerto in B, Op. 4, No. 2 (Handel) i. A tempo ordinario ii. Allegro Movements from Flötenuhrstücke (Haydn) Sonata Fort’ e Piano per Organo (Sanger) Kommt, eilet und laufet (Easter Oratorio), BWV 249 (Bach arr. De Jong) i. Sinfonia ii. Adagio iii. Chorus Fancy for two to play (Tomkins) Allegro from Brandenburg Concerto No. 3 in G, BWV 1048 (Bach arr. Hamilton) Welcome to this service of Choral Evensong sung by The Choir of Trinity College Cambridge Please ensure that all electronic devices, including cameras, are switched off The congregation stands when the choir and clergy enter the Chapel. The opening hymn will follow unannounced. HYMN NEH 134 ST MAGNUS Words: Thomas Kelly (1769–1854) Music: Jeremiah Clarke (c. 1673–1707) The minister reads Dearly beloved brethren, the Scripture moveth us in sundry places, to acknowledge and confess our manifold sins and wickedness; and that we should not dissemble nor cloak them before the face of Almighty God our heavenly Father; but confess them with an humble, lowly, penitent, and obedient heart; to the end that we may obtain forgiveness of the same, by his infinite goodness and mercy. And although we ought, at all times, humbly to acknowledge our sins before God; yet ought we most chiefly so to do, when we assemble and meet together to render thanks for the great benefits that we have received at his hands, to set forth his most worthy praise, to hear his most holy Word, and to ask those things which are requisite and necessary, as well for the body as the soul. -
The Supper at Emmaus Caravaggio Supper at Emmaus1 Isaiah 35
Trinity College Cambridge 12 May 2013 Picturing Easter: The Supper at Emmaus Caravaggio Supper at Emmaus1 Isaiah 35: 1–10 Luke 24: 13–35 Francis Watson I “Abide with us, for it is towards evening and the day is far spent”. A chance meeting with a stranger on the road leads to an offer of overnight accommodation. An evening meal is prepared, and at the meal a moment of sudden illumination occurs. In Caravaggio’s painting, dating from 1601, the scene at the supper table is lit by the light of the setting sun, which presumably comes from a small window somewhere beyond the top left corner of the painting. But the light is also the light of revelation which identifies the risen Christ, in a moment of astonished recognition. So brilliant is this light that everyday objects on the tablecloth are accompanied by patches of dark shadow. Behind the risen Christ’s illuminated head, the innkeeper’s shadow forms a kind of negative halo. This dramatic contrast of light and darkness is matched by the violent gestures of the figures seated to left and right. One figure lunges forward, staring intently, gripping the arms of his chair. The other throws his arms out wide, fingers splayed. The gestures are different, but they both express the same thing: absolute bewilderment in the presence of the incomprehensible and impossible. As they recognize their table companion as the risen Christ, the two disciples pass from darkness into light. There are no shades of grey here; this is no ordinary evening light. On Easter evening the light of the setting sun becomes the light of revelation. -
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. -
Monteverdi's L'orfeo
Australian Brandenburg Orchestra MONTEVERDI’S L’ORFEO Paul Dyer, Artistic Director and Conductor Brendan Ross, Staging Justin Nardella, Styling Teresa Desmarchelier, Italian Diction Coach Narelle French & Lynne Murray, Surtitles Joanna Tondys, Surtitle Operator SINGERS Markus Brutscher – Sara Macliver Fiona Campbell – Wolf Matthias Friedrich Tobias Cole – Robert MacFarlane – Morgan Pearse Sarah Ampil – Siobhan Stagg – Anna Sandström Richard Butler – Nick Gilbert – Paul Sutton ORCHESTRA Brendan Joyce – Aaron Brown – Monique O’Dea – Marianne Yeomans Jamie Hey – Kirsty McCahon – Laura Vaughan Melissa Farrow – Mikaela Oberg – Matthew Manchester – Russell Gilmour Roslyn Jorgensen – Nigel Crocker – Jamie Kennedy – Keal Couper – Brett Page Brian Nixon – Jess Ciampa – Tommie Andersson – Samantha Cohen Marshall McGuire – Paul Dyer – Donald Nicolson This concert will last approximately 2 1/2 hours including interval. We request that you kindly switch off all electronic devices during the performance. The Australian Brandenburg Orchestra is assisted The Australian Brandenburg by the Australian Government through the Australia Orchestra is assisted by the NSW 1 Council, its arts funding and advisory body. Government through Arts NSW. PRINCIPAL PARTNER LORFEO Program_FINAL.indd 1 13/09/12 7:37 PM CAST AND CHARACTERS PROLOGUE: La Musica (Music) Sara Macliver THE UPPER WORLD Apollo, god of music and the sun Morgan Pearse Orfeo, son of Apollo Eurydice, loved by Orfeo Markus Brutscher Sara Macliver La messagiera (Messenger), friend of Eurydice Fiona Campbell -
Concert Season 34
Concert Season 34 REVISED CALENDAR 2020 2021 Note from the Maestro eAfter an abbreviated Season 33, VoxAmaDeus returns for its 34th year with a renewed dedication to bringing you a diverse array of extraordinary concerts. It is with real pleasure that we look forward, once again, to returning to the stage and regaling our audiences with the fabulous programs that have been prepared for our three VoxAmaDeus performing groups. (Note that all fall concerts will be of shortened duration in light of current guidelines.) In this year of necessary breaks from tradition, our season opener in mid- September will be an intimate Maestro & Guests concert, September Soirée, featuring delightful solo works for piano, violin and oboe, in the spacious and acoustically superb St. Katharine of Siena Church in Wayne. Vox Renaissance Consort will continue with its trio of traditional Renaissance Noël concerts (including return to St. Katharine of Siena Church) that bring you back in time to the glory of Old Europe, with lavish costumes and period instruments, and heavenly music of Italian, English and German masters. Ama Deus Ensemble will perform five fascinating concerts. First is the traditional December Handel Messiah on Baroque instruments, but for this year shortened to 80 minutes and consisting of highlights from all three parts. Then, for our Good Friday concert in April, a program of sublime music, Bach Easter Oratorio & Rossini Stabat Mater; in May, two glorious Beethoven works, the Fifth Symphony and the Missa solemnis; and, lastly, two programs in June: Bach & Vivaldi Festival, as well as our Season 34 Grand Finale Gershwin & More (transplanted from January to June, as a temporary break from tradition), an exhilarating concert featuring favorite works by Gershwin, with the amazing Peter Donohoe as piano soloist, and also including rousing movie themes by Hans Zimmer and John Williams. -
Sara Macliver with Wind Quintet Plus
ONE & MANY SARA MACLIVER WITH WIND QUINTET PLUS Presented in association with Tura New Music Perth Festival acknowledges the Noongar people who continue to practise their values, language, beliefs and knowledge on their kwobidak boodjar. They remain the spiritual and cultural birdiyangara of this place and we honour and respect their caretakers and custodians and the vital role Noongar people play for our community and our Festival to flourish. Stay COVID-19 safe 1.5m Physical distancing Wash your hands Stay home if you are sick Register your attendance For latest health advice visit healthywa.wa.gov.au/coronavirus SARA MACLIVER WITH WIND QUINTET PLUS YANDILUP / NORTHBRIDGE HACKETT HALL, WA MUSEUM BOOLA BARDIP M T W T F S S FEBRUARY 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Fri - Sun 6pm Duration 60mins CONTENTS CONTENTS CONTENTS WELCOME WELCOME 6 Welcome 9 Credits CREDITS 10 Repertoire 11 A Note on the Repertoire BIOGRAPHIES REPERTOIRE 18 Sara Macliver 19 Wind Quintet Plus 21 Tura New Music BIOGRAPHIES ACKNOWLEDGEMENTS 22 Perth Festival Partners 23 Perth Festival Donors ACKNOWLEDGEMENTS * Just tap the interactive tabs on the left to skip to a specific section CONTENTS WELCOME CREDITS Image: Jess Wyld REPERTOIRE I grew up in a house filled with classical music, books and bones – objects emblematic of my parents’ voracious listening and reading habits and my BIOGRAPHIES dad’s work as a veterinary anatomist. I was intrigued by the beauty inside some of those antiquarian anatomy books, made aware of evolutionary secrets revealed by some of those bones and inexorably drawn towards the strange power inside the music ACKNOWLEDGEMENTS that emanated from the turntable in the disused fireplace. -
(WA Opera Society
W.A.OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Flyers and General 1. Faust – 14th to 23rd August; and La Boheme – 26th to 30th August. Flyer. 1969. 2. There’s a conspiracy brewing in Perth. It starts September 16th. ‘A Masked Ball’ Booklet. c1971. D 3. The bat comes to Perth on June 3. Don’t miss it. Flyer. 1971. 4. ‘The Gypsy Baron’ presented by The W.A. Opera Company – Gala Charity Premiere. Wednesday 10th May, 1972. Flyer. 5. 2 great love operas. Puccini’s ‘Madame Butterfly’ ; Rossini’s ‘The Barber of Seville’ on alternate nights. September 14-30. Flyer. 1972. D 6. ‘Rita’ by Donizetti and ‘Gallantry’ by Douglas Moore. Sept. 9th-11th, & 16th, 17th. 1p. flyer. c1976. 7. ‘Sour Angelica’ by Puccini, Invitation letter to workshop presentation. 1p..Undated. 8. Letter to members about Constitution Amendments. 2p. July 1976. 9. Notice of Extraordinary General Meeting re Constitution Change. 1p. 7 July 1976. 10. Notice of Extraordinay General Meeting – Agenda and Election Notice. 1p. July 1976. 11. Letter to Members summarising events occurring March – June 1976. 1p. July 1976. 12. Memo to Acting Interim Board of Directors re- Constitutional Developments and Confrontation Issues. 3p. July 1976. 13. Campaign letter for election of directors on to the Board. 3p. 1976. 14. Short Biographies on nominees for Board of Directors. 1p.. 1976. 15. Special Priviledge Offer. for ‘The Bear’ by William Walton and ‘William Derrincourt’ by Roger Smalley. 1p. 1977. 16. Membership Card. 1976. 17. Concession Vouchers for 1976 and 1977. 18. The Western Australian Opera Company 1980 Season. -
Bach Easter Oratorio BWV 249 (Novello Edition Ed. N. Jenkins)
PROGRAMME NOTES AND PREFACES Bach Easter Oratorio BWV 249 (Novello edition ed. N. Jenkins) HISTORY AND ORIGINS OF THE WORK Bach composed many pieces of celebratory musc during his time in Leipzig. Some were Birthday Odes for members of the ruling family. As these were only destined to receive one performance it is not surprising to find movements from them reappearing in the church cantatas which he had to provide each week for the St. Thomas choir. Thus a large work like the Christmas Oratorio is principally made up out of at least 3 celebratory birthday cantatas. i1 Bach knew a good thing when he saw it, and was determined to find a new home for some of the large-scale choral and orchestral movements into which he had put so much creative effort. In the case of the Easter Oratorio it is even likely that he planned a dual use for this music from the inception, since he makes use of all the movements in sequence in his reworking of it as church cantata. It started life as a secular birthday cantata for Christian, Duke of Sachs-Weißenfels with the opening text Entfliehet, verschwindet, entweichet, ihr Sorgen [BWV 249a] and was performed on 23rd February 1725. As with all of these cantatas (including the Christmas Oratorio ones) it started and ended with loud celebratory movements employing the town’s trumpeters and drums, of which the last one called for a full chorus as well. These pieces were sometimes performed in the open air, where such an instrumentation was particularly effective. -
THE BACH EXPERIENCE Performed During the Interdenominational Protestant Worship Service
MARSH CHAPEL AT BOSTON UNIVERSITY University Interdenominational Protestant Service of Worship Sunday, November 15th, 2015 –11:00 a.m. The Twenty-Fifth Sunday after Pentecost The Reverend Doctor Robert Allan Hill, Dean THE BACH EXPERIENCE Performed during the Interdenominational Protestant Worship Service This program is an insert to your worship bulletin. Johann Sebastian BACH Bleib bei uns, denn es will Abend werden, BWV 6 (1685-1750) Kim Leeds, mezzo-soprano Patrick T. Waters, tenor Ryne Cherry, baritone Heidi Braun-Hill, violin Guy Fishman, cello Elizabeth England, English horn MARSH CHAPEL CHOIR AND COLLEGIUM SCOTT ALLEN JARRETT CONDUCTING For more information about Music at Marsh Chapel, visit www.bu.edu/chapel/music. J. S. BACH Bleib bei uns, denn es will Abend werden, BWV 6 (1725) Johann Sebastian Bach was born in Eisenach on 21 March 1685 and died in Leipzig on 28 July 1750. He composed hundreds of cantatas for both sacred and secular purposes, over 200 of which survive. This is the twenty-sixth cantata performed by the Marsh Chapel Choir and Collegium as part of The Bach Experience. BWV 6 was composed in Leipzig for Easter Monday and first performend on 2 April 1725. It is scored for two oboes, oboe da caccia (played today on English horn), violincello piccolo (played today on cello), strings, and contiuno. Its duration is approximately 20 minutes. — — — ! The weekend of Easter in 1725 witnessed yet another display of Johann Sebastian Bach’s compositional genius, but in some ways with a less radical bent than the prior year. A toned-down reprisal of the St. -
Magnificat JS Bach
Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16 -
Naxos Catalog (May
CONTENTS Foreword by Klaus Heymann . 3 Alphabetical List of Works by Composer . 5 Collections . 95 Alphorn 96 Easy Listening 113 Operetta 125 American Classics 96 Flute 116 Orchestral 125 American Jewish Music 96 Funeral Music 117 Organ 128 Ballet 96 Glass Harmonica 117 Piano 129 Baroque 97 Guitar 117 Russian 131 Bassoon 98 Gypsy 119 Samplers 131 Best Of series 98 Harp 119 Saxophone 132 British Music 101 Harpsichord 120 Timpani 132 Cello 101 Horn 120 Trombone 132 Chamber Music 102 Light Classics 120 Tuba 133 Chill With 102 Lute 121 Trumpet 133 Christmas 103 Music for Meditation 121 Viennese 133 Cinema Classics 105 Oboe 121 Violin 133 Clarinet 109 Ondes Martenot 122 Vocal and Choral 134 Early Music 109 Operatic 122 Wedding Music 137 Wind 137 Naxos Historical . 138 Naxos Nostalgia . 152 Naxos Jazz Legends . 154 Naxos Musicals . 156 Naxos Blues Legends . 156 Naxos Folk Legends . 156 Naxos Gospel Legends . 156 Naxos Jazz . 157 Naxos World . 158 Naxos Educational . 158 Naxos Super Audio CD . 159 Naxos DVD Audio . 160 Naxos DVD . 160 List of Naxos Distributors . 161 Naxos Website: www.naxos.com Symbols used in this catalogue # New release not listed in 2005 Catalogue $ Recording scheduled to be released before 31 March, 2006 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating.