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Dame Emma Kirkby Soprano
Dame Emma Kirkby Soprano Originally, Emma Kirkby had no In 2009 BIS issued a compilation entitled expectations of becoming a professional "The Artistry of Emma Kirkby", drawing on singer. As a classics student at Oxford and nine CDs in all. then a schoolteacher she sang for pleasure in choirs and small groups, In 1999 Emma was voted Artist of the Year always feeling most at home in by Classic FM Radio listeners; in 2000 she Renaissance and Baroque repertoire. She received the Order of the British Empire, joined the Taverner Choir in 1971 and in and 2007 saw her appointed a Dame 1973 began her long association with the Commander of the Order of the British Consort of Musicke. Emma took part in the Empire. She was delighted in June 2008 to early Decca Florilegium recordings with return to her alma mater, Oxford both the Consort of Musicke and the University, and receive an Honorary Academy of Ancient Music, at a time when Doctorate of Music. Most surprisingly of most college-trained sopranos were not all, BBC Music Magazine, April 2007, in a seeking a sound appropriate for early survey of critics to find “The twenty instruments. She therefore had to find her greatest sopranos”, placed Emma at own approach, with enormous help from number 10. While such media flurries Jessica Cash in London, and from the can be discounted as parochial, partial, directors, fellow singers and controversial, and outdated as soon as instrumentalists with whom she has they appear, she was pleased at the worked over the years. recognition this implied for an approach to singing where ensemble, clarity and Emma feels privileged to have been able to stillness are valued alongside the more build further long-term relationships with usual features of volume and display. -
François Couperin
André Larquié président Brigitte Marger directeur général sommaire Pour rendre un hommage spécial à François Couperin (1668-1733), le compositeur des « Goûts réunis », la cité de la musique s’est associée au Centre de Musique Baroque de Versailles et aux conservatoires supérieurs de musique de Paris introduction p. 4 et de Lyon pour présenter l’intégrale des vingt-sept Ordres pour clavecin seul, avec douze interprètes choisis pour leur affinité avec ce répertoire (Kenneth Gilbert, mercredi 16 mai - 20h p. 7 Blandine Verlet, Pierre Hantaï, Violaine Cochard, Aline Zylberajch, Noëlle Spieth, Kenneth Gilbert* Céline Frisch, Béatrice Martin, Olivier Baumont, Davitt Moroney, Françoise Lengellé jeudi 17 mai - 20h p. 7 et Kenneth Weiss). Une variété encore accentuée par le fait que ces ordres seront Blandine Verlet* interprétés sur les instruments appartenant aux collections du musée de la musique (les clavecins originaux de Ruckers-Taskin de 1646/1780, Hemsch de vendredi 18 mai - 20h p. 8 1761 et Goujon-Swanen de 1749/1784 ; fac-similé du clavecin Thibaut de 1691), Pierre Hantaï aux collections du Musée national des Châteaux de Versailles et de Trianon (cla- samedi 19 - 15h p. 8 vecin Blanchet de 1746) et à la collection privée d’Emile Jobin (copie de l’épi- Violaine Cochard nette Denis de 1664). L’intégrale des Ordres pour clavecin s’inscrit dans une intégrale encore plus samedi 19 mai - 17h p. 9 vaste : celle des œuvres complètes de François Couperin donnée au fil de vingt- Aline Zylberajch sept concerts qui se répartissent entre différents lieux durant la saison 2000- samedi 19 mai - 20h p. -
W E I G O L D & Ö H Jean Rondeau M
W E I G O L D & B Ö H Jean Rondeau M Harpsichord International Artists & Tours Described as “one of the most natural performers one is likely to hear on a classical music stage” by the Washington Post, Jean Rondeau is a veritable global ambassador for his instrument. His outstanding talent and innovative approach to keyboard repertoire have been critically acclaimed, marking him out as one of today’s leading harpsichordists. Following a year that saw his debut with the Orchestre de Paris performing Poulenc’s Concerto Champêtre, Rondeau’s 2021/22 season includes concerto engagements with the Orchestre de Chambre de Genève, a concert tour with the Freiburger Barockorchester, and a CPE Bach tour with the Kammerorchester Basel with Rondeau play-conducting from the harpsichord. In the realm of chamber music, Rondeau shares the stage with Nicolas Alstaedt at the Berlin Staatsoper and re-reunites with his fellow co-founders of the Nevermind Quartet for recording projects and performances in Madrid, Dortmund and la Chaux-de-Fonds. He also joins long-time collaborator Thomas Dunford for a tour of Japan following recent appearances at the Stockholm Early Music Festival, the Festival Concentus Moraviae, the Ribeira Sacra Guitar Festival, the Haapsalu Festival and the Hindsgavl Festival last summer. A notable highlight throughout the year is Rondeau’s tour of major European venues performing Bach’s Goldberg Variations – a project long in the making; emphasising sustainability with a “green itinerary” to highlight his environmental commitments, it includes visits to the Berlin Philharmonie, the Frankfurt Opera House, Amsterdam’s Concertgebouw, the Liszt Academy in Budapest, Geneva’s Victoria Hall, the Philharmonie de Paris, and London’s Wigmore Hall. -
Concerts Streaming on Demand
CONCERTS STREAMING ON DEMAND ‘PURE PLEASURE’ THE GUARDIAN | BBC MUSIC MAGAZINE THE INDEPENDENT | THE TIMES INSPIRING AUDIENCES WITH PASSIONATE PERFORMANCES www.armonico.org.uk Registered charity no. 1103159 These recordings were made possible by generous support from the Weston Culture Fund and the Arts Council / DCMS Culture Recovery Fund Streaming VICTORIA REQUIEM on Demand The final work by Tomas Luis de Victoria, and his greatest and final polyphonic work, his requiem or ‘Officium Defunctoum’ is an intensely expressive masterpiece. The mass in six parts was written in 1605 for the funeral of the daughter of Spanish Emperor Charles V and represents the pinnacle BRAND NEW of both Victoria’s art and Spanish Renaissance polyphony. Possibly the STREAMING ON DEMAND most human of all musical settings of the Requiem Mass, the emotional RELEASE DATE: 08 MARCH 21 | £7.50 While we’re waiting in the wings to return to the concert hall, gravitas of the text is communicated www.armonico.org.uk/ondemand Armonico Consort is bringing the music to you and crucially, with profound sensitivity. keeping our musicians in work. Streaming We are launching a brand new series of performances which will be available to on Demand stream on demand for you to enjoy from your own living room. The concerts NAKED BYRD I & II have been beautifully filmed and feature some of the choir’s favourite early music Armonico Consort presents an repertoire, starting on Monday 8 March with the glorious Renaissance masterpiece atmospheric performance of the music Victoria’s Requiem and our hugely successful Naked Byrd I programme. -
Christophe Coin Violoncello (Alessandro Gagliano, Ca
Christophe Coin violoncello (Alessandro Gagliano, ca. 1720, on loan from the Fonds Instrumental Français) Petr Skalka violoncello (Joseph Guarnerius, filius Andreae, Cremona 1701) Felix Knecht violoncello (workshop of Carlo Antonio Testore, Milano, mid 18th century) [tracks 14-16] Markus Hünninger harpsichord (Thomas Friedemann Steiner, Basel 1992, after Gujon) 5 A production of the Schola Cantorum Basiliensis - Hochschule für Alte Musik Recorded in the Église de Malbosc (Ardèche, France), on 2-6 July 2013 Engineered and produced by Manuel Mohino Photographs: Susanna Drescher Executive producer & editorial director ( scb ): Thomas Drescher All texts and translations © 2014 Schola Cantorum Basiliensis Design: valentiniglesias.com Executive producer & editorial director (Gloss a/ note 1 music): Carlos Céster Editorial assistance: María Díaz © 2014 note 1 music gmbh Christophe Coin Martin Berteau (1708-1771) Airs * Sonatas & airs for violoncello 18 Amoroso 1:12 19 Air Gratieux 1:06 20 Menuet Gratieux 0:55 21 Air Gay 0:41 22 Air Gratieux 1:38 5 Sonata iv (F major) Sonata v (E flat major) 23 Cantabile 2:57 24 Allegro ma non troppo 3:29 25 Andantino. Pianissimo 4:00 26 [Tempo di Minuetto] 1:32 27 Amoroso* 1:07 28 [Tempo di Minuetto da capo] 0:41 1 Grave 2:31 2 Moderato 2:31 3 Aria. Amoroso 3:20 4 Air Gratieux* 1:28 29 Air Gay* 1:03 Sonata i (D major) 5 Spirituoso 2:14 6 Vivace 2:32 7 Grave 1:55 8 Allegro assai 2:20 Sources: Martin Berteau: Sonate da camera a violoncello solo col basso continuo , op. 1, Paris (1748), 2. -
May 2018 List
May 2018 Catalogue Issue 25 Prices valid until Wednesday 27 June 2018 unless stated otherwise 0115 982 7500 [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, Glorious sunshine and summer temperatures prevail as this foreword is being written, but we suspect it will all be over by the time you are reading it! On the plus side, at least that means we might be able to tempt you into investing in a little more listening material before the outside weather arrives for real… We were pleasantly surprised by the number of new releases appearing late April and into May, as you may be able to tell by the slightly-longer-than-usual new release portion of this catalogue. Warner & Erato certainly have plenty to offer us, taking up a page and half of the ‘priorities’ with new recordings from Nigel Kennedy, Philippe Jaroussky, Emmanuel Pahud, David Aaron Carpenter and others, alongside some superbly compiled boxsets including a Massenet Opera Collection, performances from Joseph Keilberth (in the ICON series), and two interesting looking Debussy collections: ‘Centenary Discoveries’ and ‘His First Performers’. Rachel Podger revisits Vivaldi’s Four Seasons for Channel Classics (already garnering strong reviews), Hyperion offer us five new titles including Schubert from Marc-Andre Hamelin and Berlioz from Lawrence Power and Andrew Manze (see ‘Disc of the Month’ below), plus we have strong releases from Sandrine Piau (Alpha), the Belcea Quartet joined by Piotr Anderszewski (also Alpha), Magdalena Kozena (Supraphon), Osmo Vanska (BIS), Boris Giltberg (Naxos) and Paul McCreesh (Signum). -
Greensleeves
GREENSLEEVES INTRODUCTION Shortly after this introduction, I studied nationalism in music with Robin Holloway, an FOLK MUSIC OF THE BRITISH ISLES In its very early days, the singers of Armonico eminent composer. Robin encouraged us to Consort travelled the length and breadth of understand how deeply rooted in other countries the UK performing small scale programmes was their folk music heritage. From this for Festivals and Music Clubs – it was during heritage, music from countries such as Russia 1 Lisa Lân Traditional, arr. Geoffrey Webber [2.49] the second half of these concerts (Glory of and Czechoslovakia have an easily identifiable 2 The Blue Bird Charles Villiers Stanford [3.59] Old England/Magic of Madrid/There’s Something colour, emotion and musical language. 3 The Banks of my own Lovely Lee Traditional, arr. Geoffrey Webber [5.50] about Mary etc) that we developed our love Countries across the globe, from Germany to 4 She Moved Through the Fair Traditional, arr. Toby Young [3.23] for singing arrangements of folk songs from Italy, and Spain to France all had their own 5 Lay a Garland Robert Pearsall [4.38] the British Isles. The audience reactions have language. Following the death of Purcell, 6 Sweet Kitty Traditional, arr. Geoffrey Webber [3.20] always been so striking, and when asked why this was not the case with music from the UK, 7 Suo Gân Traditional, arr. Toby Young [3.11] we have not developed a programme of folk that is not until Vaughan Williams and 8 I Love my Love Traditional, arr. Gustav Holst [4.29] music in its own strength, we have never had a Elgar began their work. -
St John's Smith Square Our History
St John’s Smith Square © Matthew Andrews Square Smith John’s St THANK YOU! ST JOHN’S SMITH SQUARE St John’s Smith Square is very grateful to all the Friends, —— Companies and Trusts and Foundations who have generously supported our work during the 2015/16 Season. “Just to come across it in —— that quiet square is an event. J Allen W Halon P Privitera C J Apperley Angela and David Harvey Kenneth Robbie To enter it, to enjoy its spaces, Michael Archer Hay Kenelm Robert Alain Aubry A Herrero-Ducloux The RVW Trust to listen to fine music within its Anonymous Dr S Hill Chris Saunders Dr J Baker Prof Sean Hilton Donna Schofield walls is an experience not to be Dennis Baldry The Hinrischen Foundation Philip Searl Hannah Baldwin A L Hoile Baroness Sharples matched in conventional concert David Ballance Colin Howard E Siebert Mr and Mrs Dickie S Hughes B W Silverman halls and is a lasting tribute to Bannenberg Ingenious Lynne Simmons M Barrell J A James B Singleton the man who designed it.” Dr Desmond Bermingham G Jenkins Judy Skelton B Bezant Glenn Jessee L A Skilton Sir Hugh Casson Michel-Yves Bolloré M Joekes Sarah-Jane Sklaroff Antoine Bommelaer Christopher Jones Dr Martin Smith Michael Bowen Jacqueline Kilgour Philip and Wendy Spink P Bowman Jocelyn Knight Steinway & Sons Sir Alan and Lady Bowness R Lab Daniel Stephens Clare Bowring Andrew Langley Samuel D P Stewart Joanna Brendon Jane Law Marilyn Stock Ian Brown In memory of J.P Legrand Ilona Storey C Brunell Alan Leibowitz D Sugden Burberry Adrian Lewis John Taylor Inside cover & page 1 -
Classical Era, 99 Then Got His Amanuensis to Make a Clear Version, Which Was A-R Editions, Inc
Early Music Review EDITIONS OF MUSIC of Music. André published parts in 1800 in Offenbach and two years later Breitkopf produced a set in Leipzig. Handel: Neun deutsche Arien... Nine As usual, it seems pointless to add fingering, since anyone reaching the ability of playing it ought to know how his/ German Arias for Soprano, Solo her fingers work – and if you are sight-reading it for fun, Instrument and Basso continuo... fingering is a superfluous requirement. The score and parts Edited by Ullrich Scheideler are available from Breitkopf – not the 1802 version but the G. Henle Verlag (968). new edition (EB 10787). ix +42pp +parts for solo instrument, basso and continuo €16.00 Clifford Bartlett he ‘German Arias’ were intended to be published Emanuel Aloys Förster: Six String in vol. 49 of Chrysander’s complete edition in Quartets. Op. 7 Tthe 1890s. Henle has now produced a cheap but Edited by Nancy November thoroughly edited version. Normally Handel wrote quickly Recent Researches in Music of the Classical Era, 99 then got his amanuensis to make a clear version, which was A-R Editions, Inc. then reproduced several times and sometimes he had it xx+226pp printed. In this case, it seems that Handel sent his only $240.00 copy to Germany. The Henle edition certainly looks better than the ones hese six four-movement works (in A, F, D, B flat, I have (or rather, used to have). It consists of a score and G and E flat major respectively) were dedicated separate booklets for the solo instrument (not specified, Tto Friedrich Wilhelm, the cello-playing Prussian though ad lib for violin, recorder or oboe) with smaller- king who had inspired Mozart and Haydn to write music stave for voice, basso (single stave), and continuo with the for him. -
Doing Without Thinking?
Doing without thinking? Processes of decision-making in period instrument performance Daniel Bangert B.Mus. (Hons), A.Mus.A. A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree Doctor of Philosophy 2012 http://doi.org/10.4225/53/58bca28d2a79a THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Bangert First name: Daniel Other name/s: Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: Doing without thinking? Processes of decision-making in period instrument performance Abstract 350 words maximum: The performance of a musical work involves making many decisions about the notated score. This study explores the nature and role of intuitive and deliberate processes of musical decision-making in period instrument performance of solo Baroque string music. This research uses dual process theories of cognition as a conceptual framework to examine issues of Baroque performance practice and interpretation. A threefold approach to data collection was employed. In the first study, semi-structured interviews were conducted with leading Baroque violinists and cellists, focusing on the solo works of J.S. Bach. A high proportion of deliberate decision-making was found (60% overall) although this varied considerably between individuals. Performers described their interpretation of these pieces as being influenced by various factors and provided insights into how elements of the interpretative process such as intuition are experienced and defined. The participants in the second study were Baroque violinists of varying levels of expertise who were asked to sight-read, practise and perform a short piece of unfamiliar solo Baroque violin music. -
LBW: Public-2
Chav compositor composicao Ano Detalhes duração Intérpretes ? Cembalo nach A. Vivaldi * Abel, Carl Fried Sonate für Viola da Gamb 1723-1 5'10 Veronika Hampe - Gambe Abel, K.F. Sonate für Viola da Gamb 1723-1 Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Adson, J. Aria für Flöte und BC 2'00 (P) 1969 Discos beverly LTDA conjunto musikantiga de são paulo Adson, J. Courtly masquino ayres 3 1590-1 5'06 (P) 1968 rozenblit conjunto musikantiga de são paulo Alain, Jehan 2 Stücke für Orgel 1911-1 Marie-Claire Alain Albéniz, I. Danzas españolas Op.37 1860-1 2-Tango; 2' Nr. ?? Tango 3-Malagueña Nr. 2: Pepe und Celin Romero - Gitarre Nr. 3: Pepe und Celin Romero - Gitarre Albéniz, I. Estudio sem luz 1860-1 3' Albéniz, I. Suite Española Op. 47 1860-1 Für Orchester 37'16 5. Asturias gesetzt von Rafael Frühbeck de Burgos 1. Granada (Serenata); 2. Cataluna (Curranda); 3. Sevilla; 4. Cádiz (Saeta); 5. Astúrias (arr. A. Segovia) (Leyenda); 6.Aragon (Fantasia); 7.Castilla (Sequidillas); 8. Cuba (Nocturno) Chav compositor composicao Ano Detalhes duração Intérpretes Orchesterzusatz: 8. Cordoba Nr. 1 Granada: Pepe und Celin Romero - Gitarre Nr. 1 Granada (5'20) : Julien Bream - Gitarre (P) 1968 DECCA Reihenfolge: 7, 5, 6, 4, 3, 1, 2, 8 New Philharmonia Rafael Frühbeck de Burgos Albicastro, H. Concerto Op. 7 Nr. 6 F-Du 1659-1 9'20 Süsdwestdeutsches Kammerorchester Pforzheim Leitung: Paul Angerer Albinoni, T. -
Forum Alte Musik Köln Christophe Coin Davit Melkonyan
SONNTAG 11. OKTOBBER 2020 ST. URSULA FORUM ALTE MUSIK KÖLN SONNTAGSKONZERTE 17H m+k e.V. CHRISTOPHE COIN DAVIT MELKONYAN VIOLONCELLO „EUROPA-REISE MIT CELLO“ AUS DEM CONSERVATOIRE IN DIE WELT Ein Jahrhundert lang schon galt die Violine als das Instrument der Wahl für die Dar- stellung expressiver Melodien, rasanter Läufe und bizarrster Sprünge, da kam auch das Violoncello endlich zu Solo-Ehren. Zunächst waren es italienische Ausnahme- Musiker, die das virtuose Solospiel auf dem Violoncello um 1700 auch im Norden Euro- pas bekanntmachten. Im Laufe der nächsten Jahrzehnte übernahm da aber Frank- reich die Führung, das Land, in dem bislang die aristokratische Viola da gamba den Ton angegeben hatte. So mancher hervorragende Gambenspieler wechselte damals aufs Cello. Auf Verbindungen nach Frankreich – jetzt in die Klassen des nachrevolutionären Pariser Conservatoire – stoßen wir auch, wenn wir uns auf die Duo- und Solokom- positionen herausragender Cello-Virtuosen des 19. Jahrhunderts einlassen, die uns heute durch verschiedene europäische Musiklandschaften führen. Wir beginnen „vor der Haustür“. Bernhard Romberg, ge- boren in Dinklage, darf als eine der prägenden Gestalten unter den Cellisten dieser Zeit gelten. Er war ein Jugend- freund Ludwig van Beethovens – gemeinsam spielten sie in der kurkölnischen Hofkapelle in Bonn. Dann aber ent- wickelte sich Romberg zu einem der ersten reisenden Cello- virtuosen; seine Konzerttourneen führten ihn von Lissabon bis St. Petersburg und Moskau. Romberg unterrichtete von 1801 bis 1803 am Pariser Konservatorium und beeinflusste so die französische Celloschule. Vor allem aber war die deutsche Cellotradition durch ihn bestimmt: Er entwickel- te die Spieltechnik weiter und richtete das Instrument ent- sprechend ein. In seiner Violoncell-Schule, die 1839/40 er- schien, veranschaulicht er die Modifikationen an seinem Instrument in einer maßstabs- getreuen Zeichnung.