Our 2016-17 Season Brochure!

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Our 2016-17 Season Brochure! Help Support Austin Baroque Orchestra! Join Austin Baroque Orchestra’s growing circle of friends by supporting our current season. Proceeds from ticket sales only cover a fraction of our annual expenses. Bringing you a full season of wonderful music is only possible with the generous and tax-deductible support of in- dividuals and businesses like you. Please help us continue to bring the highest quality early music to Central Texas. For more information on how to support get involved with Austin Baroque Orchestra, please contact us at [email protected] or speak to one of our volunteers at the ticket table at any concert. Graphic design for logo, brochures, and posters by Jennifer Rose Davis of Pilgrimage Design. AUSTIN BAROQUE ORCHESTRA 2016-2017 CONCERT SEASON Wholly Handel! Friends & Family Forces of Nature Saturday September 17, 2016 at 8:00 PM Saturday January 28, 2017 at 8:00 PM Saturday May 6, 2017 at 8:00 PM Sunday September 18, 2016 at 3:00 PM First English Lutheran Church Sunday May 7, 2017 at 3:00 PM First English Lutheran Church 3001 Whitis Ave. • Austin, TX 78705 First English Lutheran Church 3001 Whitis Ave. • Austin, TX 78705 Sunday January 29, 2017 at 3:00 PM 3001 Whitis Ave. • Austin, TX 78705 Join us as we kick off our sixth season with a cele- UTSA Arts Building Recital Hall We close the season with orchestral music inspired bration of one of the heavyweights of classical music 1 UTSA Circle, San Antonio, TX 78249 by nature! From a symphonic morning scene by – George Frideric Handel! Handel’s music has been Haydn to Jean-Féry Rebel’s musical depiction of popular since his death in 1759, and if you join us for Composers in the past didn’t live in a bubble! Many the Ancient Greek creation myth and operatic this concert, you’ll see why! The program will include musicians working in late 18th-century Austria were arias by Rameau and Handel sung by soprano the Oboe Concerto in G minor, the Concerto Grosso friends, colleagues, or even family! This program Julianna Emanski, you’ll see how powerful and op. 3 no. 1, Zadok the Priest, and selections from Mes- will contain a variety of Classic-era works, including moving the natural world can be! We’ll close with siah, Belshazzar, Israel in Egypt, Serse, Rinaldo, Semele, Mozart’s Piano Concerto no. 17, the Sinfonia da the Brandenburg Concerto no. 1 showing that Bach’s and Giulio Cesare. caccia of Leopold Mozart, the overtures from Armida genius itself was a force of nature. by Haydn and La scuola di gelosia by Salieri, and Dit- tersdorf ’s Symphony in D major, The Fall of Phaëton. Native Tongues J.S. Bach’s Passion 2016-2017 Saturday November 5, 2016 at 8:00 PM According to St. John Ticket Prices First English Lutheran Church General Admission - $25 3001 Whitis Ave, Austin, TX 78705 Saturday March 18, 2017 at 7:00 PM First English Lutheran Church Senior Discount - $20 Sunday November 6, 2016 at 4:00 PM 3001 Whitis Ave. • Austin, TX 78705 Young Adult - $10 Mission Concepción Season Tickets: Gen. Admission - $100 807 Mission Rd, San Antonio, TX, 78210 Sunday March 19, 2017 at 4:00 PM Season Tickets: Senior- $80 St. Mary’s Catholic Church, The Spanish encountered a myriad of cultures upon 304 W. San Antonio St, Fredericksburg, TX, 78624 For large group discounts please contact us at their arrival in the New World, and they soon began [email protected]. to use their knowledge of indigenous languages in the JS Bach’s Johannespassion was composed for Good conversion of the natives to Catholicism. This included Friday services in Leipzig in 1724. The text, drawn All concerts are preceded by an informal and the composition of music with texts in both indigenous from Martin Luther’s translation of the Gospel informative talk by Artistic Director Billy Traylor and European languages. This program features a choir of John, tells the story of Christ’s arrest, trial, and which will discuss the composers and contexts of of vocal soloists performing works with texts in Spanish, death, interspersed with arias, duets, and chorales the concert repertoire. Portuguese, Latin, Nahuatl, Quechua, and Chiquitano, that offer devotional commentary on the story. So- accompanied by Renaissance instruments, with music loists Barrett Radzuin, Gil Zilkha, Julianna Eman- of Fernandes, Zipoli, Araújo, Salazar, the ever-popular ski, Nicholas Garza, and Jeffrey Jones-Ragona will Anonymous, and more. be backed by the full orchestra and chorus. FOR MORE INFORMATION VISIT WWW.AUSTINBAROQUEORCHESTRA.ORG OR EMAIL [email protected].
Recommended publications
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
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  • Handel Newsletter-2/2001 Pdf
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  • NEWSLETTER of the American Handel Society
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