Choruses of Central Ma to Join Together for Benjamin

Total Page:16

File Type:pdf, Size:1020Kb

Choruses of Central Ma to Join Together for Benjamin 319 Main St Worcester, MA 01608 508-754-3231 WWW.MUSICWORCESTER.ORG Exceptional performances since 1858. FOR IMMEDIATE RELEASE CONTACT: ADRIEN FINLAY – [email protected]; 508-754-3231x206 CHORUSES OF CENTRAL MA TO JOIN TOGETHER FOR BENJAMIN BRITTEN’S WAR REQUIEM OVER VETERANS DAY WEEKEND first-ever large-scale collaboration between five independent nonprofit ensembles to bring celebrated guest conductor, Jack Daly Goodwin, conductor-laureate of the New York Choral Society, to Mechanics Hall for Sunday matinee performance on November 12, 2017 Worcester, MA: In the first collaboration of its kind, five area choral ensembles will join forces to present the rarely-heard Britten War Requiem on Sunday, November 12, 2017 at 4pm at Mechanics Hall. This collaboration, two years in the making, came about through discussions that focused on a major choral work that no one participating chorus could have dreamt of performing on its own. The Britten War Requiem, first performed in 1962 on the occasion of the completed reconstruction of the Coventry Cathedral after World War II bombing, contains both settings of traditional requiem movements as well as settings of poetry by Wilfred Owen, killed in World War I in 1918. Given the size of this collaborative effort, and the complexity of Britten’s composition, the participating ensembles sought a guest conductor with experience leading the work. John Daly Goodwin, conductor laureate of the New York Choral Society, has been engaged to direct the performance on November 12. Summary of performance – listing: Britten War Requiem Sunday, November 12, 2017 at 4pm Mechanics Hall – 321 Main St., Worcester, MA 01608 John Daly Goodwin, director Esther Heideman, soprano; Frank Kelley, tenor; Matthew Worth, baritone Participating ensembles: Worcester Chorus of Music Worcester, Salisbury Singers, Sounds of Stow, Master Singers of Worcester, Worcester Children’s Chorus Tickets: $39-$55 adults; $25 student and youth; ticketing fees apply WWW.MUSICWORCESTER.ORG or 508-754-3231 Continued… 2 Summary of performance – paragraph: Benjamin Britten’s War Requiem, combines the text of the traditional Latin Mass for the Dead with the intensely personal anti-war poetry of Wilfred Owen, in a powerful work with a timeless message. Owen wrote, “My subject is War, and the pity of War. The poetry is in the pity… All a poet can do today is warn.” Scored for soprano, tenor and baritone soloists, children’s choir, a large adult choir and two orchestras, the War Requiem delivers Owen’s timeless message through Britten’s genius over the span of 90 unforgettable minutes. Further details: An estimated 250, singers accompanied by one of the largest orchestras to be engaged to perform at Mechanics Hall, will present the War Requiem to area audiences over Veterans Day Weekend, on Sunday, November 12, 2017 at 4pm. The participating ensembles, whose combined membership reaches across Worcester County into nearby communities in RI, CT, and NH, as well as neighboring Middlesex County, are comprised of a mix of professional and avocational vocalists. Please see below for additional information on the participating choral groups. Rehearsals began in earnest in Spring 2017, as the Britten War Requiem remains a work of significant technical difficulty. Maestro Goodwin has already led rehearsals, and will return in the Fall during the months prior to November 12, for additional rehearsals, interviews, and publicity opportunities. Why collaborate?: Each participating ensemble has robust concert seasons every year, including the upcoming 2017-2018 Season. Given the cordial relationships that exist between all the current ensemble directors, and given the reality that this type of collaboration will yield a maximum number of ticket buyers with five mailing lists at work, talks began back in 2015 regarding possible ideas for repertoire, venue, and guest conductors. Each ensemble agreed to focus Fall 2017 on the Britten, and the engagement of Maestro Goodwin (bio below) also ensures that such a collaboration creates opportunities for mentorship and professional development for the five ensemble artistic directors. Selection of Mechanics Hall: While a natural choice given the world-famous acoustics of the Great Hall and its ideal audience capacity for this project, Mechanics Hall also has over 150 years as a venue for choral music. Music Worcester, in its original iteration as the Musical Association of Worcester and subsequent Worcester Music Festival, featured primarily choral music at Mechanics Hall during its first decades starting in 1858, and indeed was known for its choral events above all else through the early 1900s. KEY PERSONNEL & ENSEMBLES Jack Daly Goodwin: Having led the New York Choral Society for 25 years until 2012, Maestro Goodwin was in the unique position to have conducted major choral works repeatedly at Carnegie Hall. In his work as an educator, he served on the faculties of New York University and Pace University, and continues to teach and conduct in Mexico City. Over the course of his career he has worked with Leonard Slatkin, Dennis Russell Davies, Fabio Luisi, Yehudi Menuhin, Robert Spano, Julius Rudel, and many others. Esther Heideman, soprano soloist: Winner of the 2000 Metropolitan Opera National Council Auditions, Ms. Heideman has performed world-wide in opera, oratorio, and recital. Born on a dairy farm in Wisconsin, she took her first voice lesson at the age of 19. She has performed with the Baltimore Symphony, St. Louis Symphony, Seattle Symphony, and Boston Baroque, to name just a few, and is a regular guest artist each summer at the Aspen Music Festival. WWW.ESTHERHEIDEMAN.COM Continued… 3 Frank Kelley, tenor soloist: Highly regarded for his concert and opera roles, Mr. Kelley is especially well-known to Boston audiences from his work with Emmanuel Music and PBS broadcasts in Peter Sellars’ productions of Mozart operas. His prolific work as a recording artist include repertoire across the centuries, from Renaissance works to Kurt Weill and beyond. Matthew Worth, baritone soloist: Originally from Hartford, CT, Mr. Worth studied at the University of Richmond, Manhattan School of Music, and the Juilliard Opera Center. He has performed under the batons of James Levine, the late Lorin Maazel, Kent Tritle, and Sir Andrew Davis, and has been engaged recently by the Atlanta Symphony, Philadelphia Orchestra, Boston Pops, and Forth Worth Opera. He remains an avid Patriots fan while living in Cincinnati, OH. WWW.MATTHEWWORTHBARITONE.COM Worcester Chorus of Music Worcester: Started in 1858 when Music Worcester was first formed to present live music at the then recently opened Mechanics Hall, the Worcester Chorus has had an esteemed list of directors, including Alfred Nash Patterson, Gerald Mack, Andrew Clark, and currently Dr. Christopher Shepard. Presenting major choral works each year as well as regular concerts of pop and Broadway repertoire, the Chorus also runs the Festival Singers education program in Worcester area public schools, where students receive weekly lessons and coachings and perform in concert with the Chorus. WWW.MUSICWORCESTER.ORG/MW/CHORUS Salisbury Singers: Currently led by Michelle Graveline, Professor of Music at Assumption College, the ensemble was founded in 1973 by Malama Robbins Collinsworth. Comprised of over 80 singers, Salisbury Singers brings a mix of acappella and accompanied repertoire to their annual series of concerts. Performing regularly at Mechanics Hall and Trinity Lutheran Church, the ensemble is also a regular guest at the Worcester Art Museum during their December holiday programs, and at area arenas and hockey rinks for the National Anthem. WWW.SALISBURYSINGERS.ORG Sounds of Stow: Led since 1979 by Barbara Jones, who studied at Westminster Choir College and Brown University in addition to studying with Helmut Rilling and Harold Faberman, Sounds of Stow brings together singers from over 25 cities and towns. Recent seasons have featured performances of major choral works that include Berlioz Messe solennelle, Fauré Requiem, J. S. Bach Christmas Oratorio, and the Monteverdi Vespers. WWW.SOUNDSOFSTOW.ORG Master Singers of Worcester: Led by the just-appointed Ed Tyler, Master Singers was formed in 1976 and annually presents music from across the centuries, and is known for featuring works in their area premieres and very first performances. Known also for their outreach ensemble Master Singers To Go, which performs throughout the region at public and private events, the ensemble has a strong history of collaborating with colleague choral groups as well as the area colleges. WWW.MSWMA.ORG Worcester Children’s Chorus: Led by Pamela Mindell and founded in 2008 as a program of the Master Singers of Worcester, the Children’s Chorus is now closely associated with Assumption College. Regular touring around the US and occasionally to other countries occur in addition to regular performances of the Chorus’ two main choirs at venues in and around Worcester. WWW.WORCESTERCHILDRENSCHORUS.ORG # # # .
Recommended publications
  • Benjamin Britten: a Catalogue of the Orchestral Music
    BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Heather Wiebe. 2012. Britten's Unquiet Pasts: Sound and Memory
    Heather Wiebe. 2012. Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. Cambridge: Cambridge University Press. Reviewed by Nina Penner Britten as a public figure. Britten as a composer of music for children, amateurs, and the church. These are sides of Britten’s legacy that have attracted little scholarly attention prior to Heather Wiebe’s recent monograph Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. More familiar is Britten as a composer of opera and art song, and as a man “at odds with . society” (Pears 1983: 152).1 Although anticipating the Britten centenary by one year, Britten’s Unquiet Pasts is much in keeping with the spirit of other Britten publications to be released this year, not least Paul Kildea’s (2013) biography. What emerges from these new perspectives is a more complex view of Britten, both as an artist whose breadth of work defies easy classification, and as a man with changing and often conflicting impulses towards his envisaged role in society. Wiebe’s study also differentiates itself from much Britten scholarship in its wider historical outlook. As she states at its outset, it is less a study of Britten and his music than of the roles music played in the project of British postwar reconstruction. Britten is not even mentioned until partway through the second paragraph of the introduction, when his works appear as part of an impressive list of source materials, which include, but are by no means limited to, “planning and arts administration documents, journalism, social surveys, public ceremonial, television and radio broadcasting, film, theatre, and literature” (1).
    [Show full text]
  • Benjamin Britten's War Requiem
    Benjamin Britten’s War Requiem Benjamin Britten / Composer Ann Arbor Symphony Orchestra UMS Choral Union Ann Arbor Youth Chorale Scott Hanoian / Conductor Tatiana Pavlovskaya / Soprano Anthony Dean Griffey / Tenor Stephen Powell / Baritone Scott VanOrnum / Organ Saturday Evening, February 16, 2019 at 8:00 Hill Auditorium Ann Arbor 32nd Performance of the 140th Annual Season Choral Music Series This evening’s performance is supported by the Jerry Blackstone UMS Choral Union Performance Fund and the Frances Mauney Lohr Choral Union Endowment Fund. Media partnership provided by WEMU 89.1 FM, WRCJ 90.9 FM, and WGTE 91.3 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Stephen West and the U-M Department of Vocal Performance for their participation in events surrounding this evening’s performance. Mr. Griffey appears by arrangement with Colbert Artists. Mr. Powell appears by arrangement with Barrett Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Benjamin Britten War Requiem, Op. 66 I. Requiem aeternam II. Dies irae III. Offertorium I V. Sanctus V. Agnus Dei VI. Libera me This evening’s performance runs approximately 80 minutes in duration and is performed without intermission. 3 WAR REQUIEM (1962) Benjamin Britten Born November 22, 1913 in Lowestoft, England Died December 4, 1976 in Aldeburgh, England UMS premiere: This piece has never been performed on a UMS concert. Snapshots of History…In 1962: • First Lady Jacqueline Kennedy takes television viewers on a tour of the White House • The US announces its embargo against Cuba • The Sault Ste.
    [Show full text]
  • War Requiem”—Benjamin Britten (1963) Added to the National Registry: 2018 Essay by Neil Powell (Guest Post)*
    “War Requiem”—Benjamin Britten (1963) Added to the National Registry: 2018 Essay by Neil Powell (guest post)* In October 1958, Benjamin Britten was invited to compose a substantial work for chorus and orchestra to mark the consecration of Coventry’s new cathedral, designed by Sir Basil Spence and intended to replace the building destroyed by German bombing in 1940. He accepted at once: the commission resonated deeply with Britten, a lifelong pacifist who intended to dedicate it to three friends killed in the Second World War. But by the time he began work on what was to become the “War Requiem,” in the summer of 1960, his interest in the project had been both complicated and deepened by two factors: one was his re-reading of Wilfred Owen’s war poems, which he proposed to interleave with the traditional movements of the Latin Requiem Mass; the other was the suicide of his friend Piers Dunkerley, whom Britten regarded as a delayed casualty of the war and who became the work’s fourth dedicatee. A very public commission had thus acquired a very private subtext. It was surely at this point that Britten began to think of his “War Requiem” as (in his own words) “a kind of reparation.” At the foreground of the work are an English and a German soldier, intimately accompanied by a chamber orchestra: in keeping with his overarching theme of reconciliation, Britten decided that these two male soloists should be his partner, the tenor Peter Pears, and the German baritone Dietrich Fischer-Dieskau. Beyond them are the performers of the liturgical texts--soprano soloist, chorus, symphony orchestra--and, more distant still, boys’ chorus and organ.
    [Show full text]
  • Season 2016-2017
    23 Season 2016-2017 Thursday, March 23, at 8:00 The Philadelphia Orchestra Friday, March 24, at 2:00 Saturday, March 25, at 8:00 Charles Dutoit Conductor Tatiana Pavlovskaya Soprano Steve Davislim Tenor Matthias Goerne Baritone Westminster Symphonic Choir Joe Miller Director The American Boychoir Fernando Malvar-Ruiz Director Britten War Requiem, Op. 66 I. Requiem aeternum II. Dies irae III. Offertorium IV. Sanctus V. Agnus Dei VI. Libera me This program runs approximately 1 hour, 30 minutes, and will be performed without an intermission. These performances are made possible in part by the generous support of the Presser Foundation and by Mollie and Frank Slattery, in honor of Charles Dutoit. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage.
    [Show full text]
  • Reflections on and Around Britten's War Requiem at Yale Mervyn
    Reflections on and around Britten’s War Requiem at Yale Mervyn Cooke Adapted from the Tangeman Lecture delivered April 28, 2007 On 28 April 2007 a magnificent performance of Benjamin Britten’s War Requiem was given in Woolsey Hall, New Haven, by the Philharmonia Orchestra of Yale under the conductor Shinik Hahm, with Sara Jakubiak, James Taylor, and Detlef Roth the soprano, tenor, and baritone soloists, the Yale Schola Cantorum, Yale Camerata, Yale Glee Club, Trinity Church Boys’ and Girls’ Choirs, and Elm City Girls’ Choir; the performance had been given by the same forces at Boston’s Symphony Hall on the previous day. Before the Yale concert it was my privilege to offer some thoughts on Britten’s work in the shape of the Yale Institute of Sacred Music’s annual Tangeman Lecture. Our discussion focused not only on Britten’s economical and highly communicative musical idiom, but also on the various levels of irony presented by this multi-layered and thought-provoking score, which brings together – often in direct and disquieting collisions – vernacular settings of anti-war texts by the First World War poet Wilfred Owen (1893-1918), delivered in English by solo tenor and baritone voices with chamber-orchestral accompaniment, and the Latin Missa pro defunctis, declaimed by an operatic soprano soloist, large choir, and full orchestra; these together provide a more conventional backdrop sometimes reminiscent of the operatic style of Giuseppe Verdi. Britten’s work had been commissioned in the late 1950s to mark the consecration of the modern cathedral built at Coventry (in the British county of Warwickshire), the city’s old cathedral having been destroyed by German bombing in November 1940; his score was first performed in the new building, designed by the architect Basil Spence and poignantly erected alongside the ruins of the medieval building it replaced, on 30 May 1962.
    [Show full text]
  • 21968.6 Uncovering Classics Schools Resource V3.Indd
    Southbank Centre Uncovering Classics BENJAMIN BRITTEN’S UNCOVERING CLASSICS Uncovering Classics is a Southbank Centre series which puts participants in the driving seat of exploring great cultural works of art, be they music, dance, visual arts or multi disciplinary. Through their exploration of the work, participants work with artists at Southbank Centre to create resources which are then available to you and your school online. You can use ‘uncovering classics’ resources to: • Support your study of the particular piece (you may be planning a local visit to a performance) • Spark imagination and exploration in the classroom by using an artistic medium to explore a subject area (eg. Music, literature, history) • As a launch point for in depth study which can either feed to one discipline or across several subjects. • To bring interviews with artists to your classroom study as a support to your topic work Each project will have an overview and an outline of how you might want to use the resources. BENJAMIN BRITTEN’S WAR REQUIEM UNCOVERED 2014 To commemorate 100 years since World War One in Nov 2014, Southbank Centre staged a special performance of Benjamin Britten’s War Requiem featuring hundreds of young performers. The concert was conducted by Marin Alsop and featured an orchestra from the Royal Academy of Music, National Youth Choir, children’s chorus (specially formed by Southbank Centre, organist and soloists. With a large number of young performers taking part, 8 students from Lilian Baylis School Technology school went on journey to uncover this masterpiece, find out why Britten wrote it and explore the themes of this piece through 3 chapters: War, Words and Music.
    [Show full text]
  • Compose Your Own Season *Save up to 30% Off Full-Priced Single Tickets
    SAVE UP TO 30%* WHEN YOU BUY 3+ CONCERTS 2020/21 COMPOSE YOUR OWN SEASON *SAVE UP TO 30% OFF FULL-PRICED SINGLE TICKETS. COMPOSE YOUR OWN SEASON ON SALE 5/26/2020. 2020/21 SEASON INNOVATIVE IDEAS, EVOLVING CONVERSATIONS, & SPECTACULAR MUSIC 2020/21 SEASON INNOVATIVE IDEAS, EVOLVING CONVERSATIONS, & SPECTACULAR MUSIC JOIN US AS ESA-PEKKA SALONEN TAKES THE PODIUM FOR THE FIRST TIME AS MUSIC DIRECTOR OF THE SAN FRANCISCO SYMPHONY. 1 2 YOUR SUBSCRIPTION YOUR WAY. SAVE UP TO 30%* WHEN YOU COMPOSE YOUR OWN SEASON Simply choose any 3 concerts from our 60+ offerings. With more concerts and themes than ever before, there has never been a better time to be a subscriber. CURATED COMPOSE SERIES YOUR OWN On Sale On Sale Now Now BEST prices of the season • Subscriber prices will always • • remain lower than Single Ticket prices Same seats for each concert • Reserved seats for each concert • • SINGLE TICKETS Complimentary seat upgrades • • On Sale Easy ticket exchanges • • July 10 Convenient pre-paid parking • • Invitation to special subscriber-only events • • Early access to concerts and events • • 10% discount at the Symphony Store • • *Save up to 30% off full-priced single tickets. Compose Your Own Season on sale 5/26/2020. OUR PATRON PROMISE The current pandemic has changed a lot of things in our world but not our high standard of customer service. As we navigate together into the 2020–21 season, we promise to be there for you just as you continue to be there for us. • We pledge to be flexible, empathetic, and accommodating should you be unable to safely attend an event.
    [Show full text]
  • Abraham, Isaac, and Britten: Conflict and Reconciliation in War Requiem1
    Abraham, Isaac, and Britten: Conflict and Reconciliation in War Requiem1 Nikola D. Strader, Ph.D., The Ohio State University The Requiem mass for centuries has been a celebration of and a prayer for the souls of the deceased, as well as a consolation for the living, and it has served as the basis for numerous well- known choral works, including those by Mozart, Berlioz, and Verdi. Following in this tradition, yet departing from it, is Benjamin Britten’s War Requiem. His combination of portions of the Latin Requiem Mass with nine English poems by the World War I poet-soldier Wilfred Owen may at first glance seem a sacrilegious mutilation of the mass in the service of expressing Britten’s well-known pacifist beliefs, but this attitude ignores the work’s original context and purpose. Britten wrote War Requiem for the festivities surrounding the consecration of the new Coventry Cathedral. As he noted in his speech when he accepted the first Aspen Award in 1964, I believe… in occasional music…. [A]lmost every piece I have ever written has been composed with a certain occasion in mind, and usually for definite performers, and certainly always human ones…. When I am asked to compose a work for an occasion, great or small, I want to know in some detail the conditions of the place where it will be performed, the size and acoustics, what instruments or singers will be available and suitable, the kind of people who will hear it, and what language they will understand…. The text of my War Requiem was perfectly in place in Coventry Cathedral—the Owen poems in the vernacular, and the words of the Requiem Mass familiar to everyone—but it would be pointless in Cairo or Peking….
    [Show full text]
  • Britten: War Requiem
    LSO Live Britten War Requiem Gianandrea Noseda Ian Bostridge, Simon Keenlyside, Sabina Cvilak London Symphony Chorus, Choir of Eltham College London Symphony Orchestra Benjamin Britten (1913–1976) Page Index War Requiem, Op 66 3 Track listing Gianandrea Noseda conductor 4 English notes Ian Bostridge tenor Simon Keenlyside baritone Sabina Cvilak soprano 6 French notes The Choir of Eltham College, London Symphony Chorus, London Symphony Orchestra 8 German notes 10 Composer biography 11 Text 15 Conductor biography 16 Soloists’ biographies 19 Chorus personnel list 20 Orchestra personnel list 21 LSO biography © Robert Garbolinski Recorded live 9 & 11 October 2011 at the Barbican, London James Mallinson producer Classic Sound Ltd recording, editing and mastering facilities Neil Hutchinson and Jonathan Stokes for Classic Sound Ltd balance engineers & audio editors Published by Boosey & Hawkes. Gianandrea Noseda appears by kind permission of Chandos Records. Ian Bostridge appears by kind permission of EMI. © 2012 London Symphony Orchestra, London UK P 2012 London Symphony Orchestra, London UK 2 Track listing REQUIEM AETERNAM 1 Requiem aeternam (chorus) p11 3’37’’ 2 Te decet hymnus (boys’ chorus, chorus) p11 3’00’’ 3 “What passing-bells for these who die as cattle?” (tenor) p11 2’37’’ 4 Kyrie eleison (chorus) p11 1’32’’ DIES IRAE 5 Dies irae (chorus) p11 3’32’’ 6 “Bugles sang, saddening the evening air” (baritone) p11 2’32’’ 7 Liber scriptus (soprano, chorus) p11 3’00’’ 8 “Out there, we’ve walked quite friendly up to Death” (tenor, baritone) p11
    [Show full text]
  • Benjamin Britten's
    ST. OLAF COLLEGE DEPARTMENT OF MUSIC PRESENTS BENJAMIN BRITTEN’S WAR REQUIEM ’ Following the devastating bombing of the Cathedral at Coventry, England, Cathedral stonemason Jock Forbes saw two wooden beams lying in the shape of a cross and tied them together. A replica of the wooden cross, built in 1964, has replaced the original in the ruins of the old cathedral on an altar of rubble. The original is now kept on the stairs linking the new Cathedral with St. Michael’s Hall below. — photo by Shannon Cordes ’14 “My subject is War, and the pity of War. The Poetry is in the pity … All a poet can do today is warn.” — Wilfred Owen Unauthorized photography or video and audio recording is prohibited. The Boe Chapel performance is archived at http://www.stolaf.edu/multimedia Please silence your cell phone, pager or other personal communication device. WAR REQUIEM, OP. 66 Benjamin Britten (1913-1976) Words from the Missa pro Defuntis and the poems of Wilfred Owen I Requiem aeternam CHORUS Requiem aeternam dona eis Domine, Rest eternal grant them, Lord; et lux perpetua luceat eis and may everlasting light shine upon them. TREBLE CHOIR Te decet hymnus, Deus in Sion; Songs of praise are due to Thee, God, in Zion; et tibi reddetur votum in Jerusalem; and prayers offered up to Thee in Jerusalem; exaudi orationem meam, hear my prayer, ad te omnis caro veniet all flesh shall come to Thee. TENOR SOLO What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons.
    [Show full text]