Season Calendar 2020-21 V.2021.3.19

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Season Calendar 2020-21 V.2021.3.19 2020-21 Season ~ Baroque Chamber Orchestra Join our e- Event Date Time - Location Description news list for Mountain Time updates. Zone, USA Pre-season Harmonious Thursday 7 PM Streaming only Free event. Frank Nowell and Wesley concert Harpsichords Sep. 10, 2020 Recorded live at Leffingwell perform music for two Leon Gallery, harpsichords by JS Bach and Krebs, plus Denver solo works by Pachelbel and Duphly. The program will be streamed on September 10 (and will be available for one week) Lifelong Discover MONTHLY Noon via Zoom One-hour sessions, including lecture, Learning Baroque and musical demonstration and Q&A. Hosted by 7:30 pm Artistic Director, Frank Nowell and guest hosts. No charge — Donations appreciated. Register here for updates. Confluence Singular Voices Thursday 7 PM Streaming only. Three BCOC soloists play Bach, A poet, a Series Oct. 1, 2020 Recorded live at theater maker and a photographer each Museo de las interpret the music. Free event. Americas Masterworks Hearts Sunday Streaming only Familiar music of Bach and Handel, plus Series Resounding Oct. 18, 2020, via YouTube Telemann’s spirited Viola Concerto with available for the soloist Emily Anne Bowman. Free event. season. Masterworks Salzburg 1715 Sunday 5 PM Livestream from Cynthia Miller Freivogel performs the Series Nov. 15, 2020 a beautiful complete Partitas of Johann Joseph church in Vilsmayr. Amsterdam. Masterworks Directors TBD. TBD TBD Cynthia Miller Freivogel, violin & Frank Series Concert ~ A (Postponed from Nowell, harpsichord - Sonatas from Sweet & Savory its original date Arcangelo Corelli and his re-discovered Mix of Jan. 3, 2021). predecessor Isabella Leonarda. Please stay tuned for a new date in summer 2021. Video Feb 7 Zoom session with short musical offerings. Anniversary/ Masterworks Flights of Fancy Friday 7 PM premiere Streaming only. A virtual concert. Georg Philipp Telemann's Series (originally Fiori Feb. 26, 2021, Don Quixote Suite, a light-hearted musical Musicali) available through portrayal of Quixote and his adventures. March 14, 2021. Complementing the Telemann suite are two different versions of La Folia, a popular tune that has captured composers' imaginations for over 400 years, plus music by Arcangelo Corelli and Joseph Boulogne. Master Class Master class for TBD Derek Chester voices - Handel’s Arias Confluence An Evening in a TBD Early June Streaming only. Part of our Intercambio series of Latin Series Peruvian Salan 2021 American Baroque by Latinx artists. 1 Join our e- Event Date Time - Location Description news list for Mountain Time updates. Zone, USA Masterworks Bravi Tutti ~ May 21-31, 2021 TBD via livestream. Our full orchestra comes together for an Series Vivaldi & exuberant program of gems by two Handel contrasting innovators of Baroque music -- Vivaldi and Handel. Watch for program details and ticket sales soon. (This program replaces Vivaldi’s Four Seasons) Lifelong Discover Monthly via Zoom A new topic each month. Explore what Learning Baroque makes baroque Baroque. *All live performances are dependent on current Join our e-news For your streaming concerts, a link will be safety recommendations. Appropriate precautions list for updates. emailed to you one day prior. Please see our will be in place, and streaming will be an option. FAQs. Updated 2021.3.19 2 Table 1 1.
Recommended publications
  • Program Notes. Baroque Sounds of the Season. Camerata Milwaukee. Saint Joseph Center, Milwaukee, WI. December 2, 2018
    Andrews University Digital Commons @ Andrews University Faculty Publications 12-2-2018 Program Notes. Baroque Sounds of the Season. Camerata Milwaukee. Saint Joseph Center, Milwaukee, WI. December 2, 2018. Marianne Kordas Andrews University, [email protected] Follow this and additional works at: https://digitalcommons.andrews.edu/pubs Part of the Musicology Commons Recommended Citation Kordas, Marianne, "Program Notes. Baroque Sounds of the Season. Camerata Milwaukee. Saint Joseph Center, Milwaukee, WI. December 2, 2018." (2018). Faculty Publications. 1506. https://digitalcommons.andrews.edu/pubs/1506 This Other is brought to you for free and open access by Digital Commons @ Andrews University. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Program notes for Camerata Milwaukee for Dec 2, 2018 Our Advent-tide program this year includes several solo vocal cantatas, works by two Ursuline nuns, three Italian Christmas concertos, and various other baroque delights. Giuseppe Torelli is primarily known as a member of the Bolognese school of violinists and composers. He helped shape the genres of concerto and sonata into their mature forms under a variety of names, such as tonight’s “sinfonias”, which were published in 1692 as part of his Opus 5. Rather than the larger works which later came to be associated with this term, these two pieces are examples of trio sonatas scored for two violinists and basso continuo (a harpsichordist or organist who fills in the chordal structure plus a cellist reinforcing the bass line). The Italian nun Isabella Leonarda entered the Collegio di Sant'Orsola—an Ursuline convent in her hometown of Novara in northern Italy near Milan— at the age of sixteen.
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  • Queen of Heaven Music of Isabella Leonarda in Honor of the Virgin Mary
    Classical Music Agency 33 W 60TH Street, Lib1-8 New York, NY 10023 Tel: +1-917-572-6859 DCA License #: 0897404 AGAVE BAROQUE REGINALD MOBLEY, countertenor Queen of Heaven Music of Isabella Leonarda in Honor of the Virgin Mary Although the Roman Catholic establishment did not accept the Divine Feminine as orthodoxy, within the walls of many convents in 17th century Italy, nuns ascribed to the Blessed Virgin Mary her own trinity, venerating her as Maiden, Mother, and Queen of Heaven. They also cultivated an unorthodox tradition of making music at a time when women typically had neither the education nor the freedom to write and perform music at a professional level. Anna Isabella Leonarda was born to a wealthy family who opted to send their daughter to spend her life as a nun rather than having to pay a hefty marriage dowry. Leonarda entered the Collegio di Sant’Orsola at sixteen, where she received a solid musical education and lived a fairly privileged life within her order, rising to be- come Mother Superior in her sixties, and dying a local celebrity at the age of 84. Leonarda published 20 volumes of music over a sixty year career––a worthy accomplishment for any 17th century com- poser, let alone a woman in an age of repression. Leonarda was an accomplished poet, and most probably wrote the texts to the three motets on this album. Her poetry is intimate, deeply personal, and speaks to the central place the Virgin Mary held in the worship life of the Ursuline sisters. Leonarda’s collection of instrumental music, published in 1693, includes the earliest known sonata for solo violin and basso continuo written by a female composer.
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  • Finding Their Voice: Women Musicians of Baroque Italy
    Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2016 Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Part of the Musicology Commons Repository Citation Poynor, F. (2016). Finding their voice: Women musicians of Baroque Italy. The Expositor: A Journal of Undergraduate Research in the Humanities, 12, 70-79. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor emale musicians began to achieve greater freedom and indepen- dence from men during the Baroque period, and their music and Fcreative talent consequently began to flourish. Due to the rise in popularity of female vocal ensembles that resulted after the establishment of the con- certo delle donne in 1580, women composers in early modern Italy gained greater access to musical training previously only available to men or nuns. As seen by the works of composers and singers such as Francesca Caccini and Barbara Strozzi, this led to an unprecedented increase in women’s mu- sical productivity, particularly in vocal music. The rise of female vocal ensembles in the early Baroque period was a pivotal moment in women’s music history, as women finally achieved wide- spread recognition for their talents as musicians.
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  • BAROQUE REVELRY STAND with US Last Year Your Donations Helped Us Survive
    2021 BAROQUE REVELRY BAROQUE BAROQUE REVELRY Directed by Richard Tognetti Luminous Women of the Baroque Kate Holden on Baroque female composers p.18 An Audience of Passions Richard Tognetti and Erin Helyard in conversation p.32 IN COLLABORATION WITH STAND WITH US Last year your donations helped us survive. Thank you. Please help us continue to make the music you love by making a tax- deductible donation. aco.com.au/donate LOVE & TRANSFIGURATION A visceral cinematic journey from the darkness into the light. SEVEN-DAY ACCESS $35* ACO STUDIOCASTS SUBSCRIPTION $229* STREAMING NOW ACOSTUDIOCASTS.COM *Transaction fee of $7.50 applies. 1 Inside you’ll find features and interviews that shine a spotlight on our players and the music you are about to hear. Enjoy the read. INSIDE Welcome Program in Short Musicians on Stage From the ACO’s Managing Your five-minute read Players on stage for Director Richard Evans before lights down this performance p.2 p.6 p.14 Luminous Women An Audience Acknowledgements of the Baroque of Passions The ACO thanks our generous supporters Kate Holden on Barbara Erin Helyard and Strozzi, Isabella Leonarda Richard Tognetti on the p.48 and Élisabeth Jacquet “sordid Baroque” de La Guerre p.32 p.18 Join the conversation #ACO2021 | Cover image: Lisa Carrington ACO Lisa image: Cover Printed by Playbill Pty Ltd @AustralianChamberOrchestra 2 WELCOME Welcome to Baroque Revelry, a concert where we will take you on a sordid musical romp through Baroque Europe. We’ll be delving into the ultra-vibrant world of the 17th- and 18th-century concert hall, a period that was alive with chaotic energy and trailblazing artistic splendour.
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  • 68 Festival De Granada 21 De Junio a 12 De Julio De 2019
    Memoria 68 Festival de Granada 21 de junio a 12 de julio de 2019 16 fex Festival Extensión 50 Cursos Manuel de Falla Memoria 68 Festival de Granada 21 de junio a 12 de julio de 2019 16 fex Festival Extensión 50 Cursos Manuel de Falla InstitucionesInstituciones Rectoras Rectoras 2 CírculoCírculo de de Mecenazgo Mecenazgo EntidadEntidad Protectora protectora PatrocinadoresPatrocinadores Principales principales PatrocinadoresPatrocinadores ColaboradoresColaboradores Principales principales Socios colaboradores Socios Colaboradores CorralCorral & & Va Vargasrgas Clínica Clínica Dental Dental GrupoGrupo Cuerva Cuerva GrupoGrupo Hoteles Hoteles Porcel Porcel Sabor SaborGranada Granada Grupo Cariño Coca Cola GrupoArtistas, Cariño Intérpretes o Ejecutantes JamonesCoca Nicolás Cola Artistas,Agua Sierra Intérpretes Natura o Ejecutantes InstitutJamones Français NiEspañacolás AguaBidafarma Sierra Natura AllianceInstitut Française Français de Granada España BidafarmaFulgencio Spa-Agricultura Asisa Alliance Française de Granada FulgencioRenta4 Banco Spa-Agricultura Asisa Renta4 Banco El festival cuenta con la colaboración de El Festival cuenta con la colaboración de Canal Sur Radio, RNE-Radio Clásica y Mezzo Canal Sur Radio, RNE-Radio Clásica y Mezzo y el apoyo institucional de y el apoyo institucional de Instituciones Rectoras 3 Fotografía: Fermín Rodríguez Fermín Fotografía: 4 5 Festival de Granada El Festival Internacional de Música y Danza de Granada tiene su origen en los conciertos sin- fónicos que desde 1883 se celebraban a principios de verano en el Palacio de Carlos V, si bien es en 1952 cuando adopta la denominación de Festival. Desde entonces, los palacios nazaríes, los jardines centenarios de la Alhambra y otros monumentos de Granada son cada año el marco excepcional de una programación de gran calidad, basada tradicionalmente en la música clásica, el ballet y la danza española, el flamenco e interesantes incursiones en la música antigua y con- temporánea.
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  • Toronto Early Music Centre Distributed Free to TEMC Members - Cost to Non-Members Is $2.00 Toronto Early Music News Contents of Vol
    Toronto Early Music News Volume 27, No. 2 June ’11 - August ’11 a quarterly bulletin of the Toronto Early Music Centre Distributed free to TEMC members - Cost to non-members is $2.00 Toronto Early Music News Contents of Vol. 27 no. 2 Calendar of Forthcoming Events is a quarterly bulletin of the Toronto Early Music Centre (TEMC) . Opinions expressed in June . 2 it are those of the authors and may not be endorsed by the Toronto Early Music Centre . Free Tafelmusik Baroque Summer Institute (TBSI) Concerts 2011 . 4 Unsolicited manuscripts, letters, etc . are welcome, as is any information about early 27th annual Early Music Fair . 6 music concerts, events, recordings and copies of recordings for review . The deadline for the News Items the next issue (September ’11–November ’11) is August 12, 2011 . Speak Up! . 7 Subscription is free with membership to the Toronto Early Music Centre . For rates and Toronto Early Music Centre’s Telephone # 416-464-7610 . 7 other membership benefits, please call 416-464-7610, send e-mail to [email protected] E-mail News And Updates . 7 or write to us at the Toronto Early Music Centre (TEMC), P.O. Box 714, Station P, Have You Been Wondering If Your TEMC Membership Has Expired? . 7 Toronto, ON M5S 2Y4 . Web site: http://www.interlog.com/~temc . Medieval & Renaissance Reference Website . 8 Toronto Early Music Centre The TEMC Vocal Circle . 8 Board of Directors Prima la musica . 9 CanadaCD .ca . 9 Frank Nakashima, President Michael Lerner, Secretary Make A Donation . 10 Kathy Edwards, Treasurer TEMC Newsletter Online Instructions .
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  • Celestial Sirens Chiara Margarita Cozzolani
    Magnificat Warren Stewart, artistic director presents Celestial Sirens A conference celebrating Women and Music in 17th Century Italy November 15-16, 2002 Grace Cathedral, San Francisco We are delighted to be able to present this conference and hope that it will serve as a catalyst for further research and perfromance into the music written and perfromed by women in the Baroque. We are pleased that the conference can serve as a celebration of the 400th anniversary of the birth of Chiara Margarita Cozzolani (November 27, 2002.) While Magnificat has had the opportunity to perform and record the music of this remarkable composer, we are very exscited to have the chance to explore the many other worthy women composers from the period. We would like to thank all those who have contributed to this event, in particular The San Francisco Arts Commision and San Francisco Grants for the Arts. Warren Stewart, artistic director Magnificat Program Friday, November 15, 8:00 p.m. Grace Cathedral San Francisco Chiara Margarita Cozzolani Vespro della Beata Vergine Magnificat Warren Stewart, artistic director Coro Primo Catherine Webster, soprano Margaret Bragle, alto Jennifer Ellis, tenor (soprano) Linda Liebschutz, bass (alto) Coro Secondo Ruth Escher, soprano Suzanne Elder Wallace, alto Andrea Fullington, tenor (soprano) Elizabeth Anker, bass (alto) John Dornenburg, violone David Tayler, theorbo Hanneke van Proosdij, organ Warren Stewart, conductor Deus in adiutorium meum intende Cozzolani, Salmi a otto voci concertati...Venice, 1650) 1. Antiphona: Nativitas gloriosæ Ps 109: Dixit Dominus Cozzolani, Salmi a otto voci concertati...Venice, 1650) in loco 1. Antiphona: O Maria, tu dulcis (Bragle) (Cozzolani, Concerti sacri a una, Due, Tre, et Quattro voci...Venice, 1642) 2.
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  • Annual Conference of the Society for Seventeenth-Century Music
    26th Annual Conference of the Society for Seventeenth-Century Music April 19-22, 2018 Hotel Boulderado, Boulder, CO Hosted by April 19-22, 2018 Hotel Boulderado, Boulder, CO 1 2 26th Annual Conference of the Society for Seventeenth-Century Music 26th Annual Conference of the Society for Seventeenth-Century Music April 19-22, 2018 Hotel Boulderado, Boulder, CO Front cover: Bartolomeo Bettera – Still Life with Musical Instruments Inside cover: Evaristo Baschenis – Still life with Musical Instruments, Books and Sculpture Hosted by Thursday, April 1:30-3:30 pm Meeting of the SSCM Governing Board Porch Room 3:30–5 pm Meeting of the WLSCM Editorial Board th Porch Room 3:30–5 pm Meeting of the New Grove Committee Juniper Room 19 1:00-5:30 pm Registration – Lobby 5:30-7:15 pm Opening Reception – Mezzanine 7:30 pm Evening activity TBA Friday, April 7:30-11:30 am Registration – Lobby, near Columbine Room 7:30-8:30 am Breakfast – Lobby, near Columbine Room th 8:30 am-4:30 pm Book exhibit 8:30-9:50 am English Anxieties I Graham Freeman (Queen’s University at Kingston), chair 20 Linda Austern (Northwestern University) “Soul-Raping Musicke” and Other Anxieties of Aurality in Early Modern England Jeremy L. Smith and Jordan Hugh Sam (University of Colorado, Boulder) “My Sweet Child and Wife”: Buckingham, James I, and Homoeroticism in the English Anthem and Madrigal 9:50-10:10 am Break 10:10-11:30 am Affect and Habitus at the Keyboard Alexander Silbiger (Duke University), chair Alexis VanZalen (Eastman School of Music) Rhetoric and Declamation in the Organ
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  • A Baroque Christmas Celebration St Martin's Voices St Martin's Players Andrew Earis Director Available Until 31St December 2020
    A Baroque Christmas Celebration St Martin's Voices St Martin's Players Andrew Earis Director Available until 31st December 2020 St Martin-in-the-Fields, Trafalgar Square London WC2N 4JJ 020 7766 1100 www.smitf.org St Martin's Carols at Home Welcome to St Martin-in-the-Fields and our online Christmas concerts for 2020. In this uncertain time for our country and our world, we are delighted to be able to bring a little bit of St Martin’s into your homes. There are three uplifting concerts as part of our Christmas online series – Carols for Christmas, Festive Family Carols and A Baroque Christmas Celebration. Each feature our wonderful professional choir, St Martin’s Voices. We are also delighted to welcome BBC Radio 4 newsreader and children’s author Zeb Soanes to introduce some of the concerts. Please do visit the St Martin’s website at www.smitf.org to find out more of what we have to offer this Christmas – from our in-person socially distanced carol concerts and services, to our new online shop, and much exciting digital content. For other online Christmas concerts in this series, please visit shop.smitf.org. From all of us at St Martin’s, we would like to wish you a very happy Christmas! Dr Andrew Earis Director of Music PROGRAMME Magnificat – Giovanni Battista Pergolesi (1710-1736) i. Magnificat ii. Et Misericordia (Soloists: Daisy Walford & Christopher Mitchell) iii. Deposuit Potentes iv: Suscepit Israel (Soloists: Will Wright & Ben Tomlin) v. Sicut Locutus vi. Sictu Erat Gloria: Dialogue Between Angels and Shepherds – Isabella Leonarda (1620-1704) Jesu Joy of Man's Desiring Cantata BWV 147 – J.
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  • Opera, Ballet Classical Music Holidays New Tours for 2018/19
    TRAVELFOR THE ARTS AUTUMN, WINTER & SPRING 2018/19 OPERA, BALLET CLASSICAL MUSIC HOLIDAYS NEW TOURS FOR 2018/19 THE RING BERLIN IN GENEVA BAROQUE DAYS page 11 page 20 ATHENS NEW YORK ODYSSEY CITY BALLET page 24 page 26 www.travelforthearts.com +44 20 8799 8350 [email protected] welcome welcome to the world of OPERA, BALLET AND CLASSICAL MUSIC Within this brochure you will find our selection of escorted small group tours for the 2018/19 Season, carefully researched and created by our music and travel experts. As ever, we are delighted to present a selection of festive holidays to celebrate Christmas and New Year, which can be found on the gold pages at the front of the tours section of this brochure. Our ever-popular Wagner tours are then marked by one of the composer’s favourite colours, purple, while our traditional visits to major opera houses and festivals are listed in red. We are also pleased to continue our collaboration with Stephen Carpenter of Carpenter Holidays in blue, and, for further information on our à la Carte offering for individual travellers, please visit the pages at the back of the brochure. We hope you will enjoy wonderful opera, ballet and classical music on a memorable holiday with us. Tel: 020 8799 8350 | Email: [email protected] | www.travelforthearts.com BOOKING DETAILS AUTUMN, WINTER All tours mentioned in this brochure (as well as additional tours) & SPRING 2018-19 are available to view online at www.travelforthearts.com Many of our holidays are filled very quickly after the brochure We are delighted to present our selection of highlights from launch.
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  • Vivaldi Magnificat Music for Advent Thursday 3Rd December Recorded on Friday 27Th November
    Vivaldi Magnificat Music for Advent Thursday 3rd December Recorded on Friday 27th November St Martin's Voices St Martin's Players Andrew Earis Director St Martin-in-the-Fields, Trafalgar Square London WC2N 4JJ 020 7766 1100 www.smitf.org St Martin's Autumn Choral Concerts 2020 Welcome to St Martin-in-the-Fields for the second concert in our Autumn Choral Concert series Last Sunday was the start of the church year, beginning the period of Advent. Today’s programme begins and ends with one of the most famous Advent texts – the Magnificat, or Song of Mary – sung to settings by Isabella Leonarda and Antonio Vivaldi. The concert also features one of the most beautiful Advent cantatas by Johann Sebastian Bach – Nun komm, der Heiden heiland. We are thrilled to be able to once again offer live concerts at St Martin-in-the-Fields. Please do visit our website for details of further choral concerts in this series, for concerts in the re:connect series by the Academy of St Martin in the Fields, and for our much-loved upcoming Christmas programmes, which this year are both in-person and online. With all best wishes, Dr Andrew Earis Director of Music PROGRAMME Magnificat – Isabella Leonarda (1620-1704) Siehe, dieser wird gesetzt zu einem Fall – Heinrich Schütz (1585-1672) Ave maris stella (from 'Vespro della Beata Vergine') – Claudio Monteverdi (1567-1643) Nun komm, der Heiden Heiland BWV 61 – Johann Sebastian Bach (1685-1750) i. Nun komm, der Heiden Heiland ii. Der Heiland ist gekommen iii. Komm, Jesu, komm zu deiner Kirche iv.
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  • Sinfonia in G Minor for Strings and Continuo, “Paris,” R. 157 (Ca. 1720) Antonio Vivaldi (1678-1741)
    December 6, 2020 Baroque Reflections NOTES ON THE PROGRAM BY DR. RICHARD E. RODDA Sinfonia in G minor for Strings and Continuo, “Paris,” R. 157 (ca. 1720) Antonio Vivaldi (1678-1741) Vivaldi obtained his first official post in September 1703 at the Pio Ospedale della Pietà, one of four institutions in Venice devoted to the care of orphaned, abandoned and poor girls. As part of its training, the school devoted much effort to the musical education of its wards, and there was an elaborate organization of administrators, teachers and associates who oversaw the activi- ties of the students. Part of his duties as violin teacher required Vivaldi to com- pose at least two new concertos as well as other instrumental pieces each month for the regular public concerts given by the Ospedale. The featured performers in these works were occasionally members of the faculty, but usually they were the more advanced students — the difficulty of Vivaldi’s music is ample testimony to their skill. These programs offered some of the best music in Italy, and they attracted visitors from all over Europe. One French traveler, Charles de Brosses, described the conservatory concerts in a letter of August 1739: “The most marvelous music is that of the Ospedali. There are four of them, all composed of bastard girls, or orphans, or of girls whose parents cannot afford the expense of bringing them up. They are reared at the expense of the State and trained only to excel in music. And indeed they sing like angels and play the violin, the flute, the organ, the oboe, the violoncello, the bassoon, the lute; in short, there is no instrument big enough to scare them.
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