DOCSLIB.ORG

Bach, Lutheran Mass

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bach, Lutheran Mass Saturday 5 December 2015, 7.00pm HANDEL: MESSIAH Susan Hamilton soprano James Neville countertenor Ed Goater tenor David Shipley bass Music for Awhile Orchestra Matthew Owens conductor Saturday 23 April 2016, 7.00pm To celebrate HM The Queen’s 90th birthday A CONCERT OF GREAT BRITISH CLASSICS Including works by Parry, Walton and Elgar with the Choristers of Wells Cathedral Southern Sinfonia Matthew Owens conductor Saturday 11 June 2016, from 9.30am to 6.00pm Come and Sing Day with Matthew Owens MOZART: VESPERS in St Thomas’ Church, Wells Tickets now available online: wcos.org.uk 2 Johann Sebastian Bach (1685-1750) Brandenburg Concerto 1 ‘Lutheran’ Mass in F major Cantata 140, Wachet auf! ____________________________________________ Ali Darragh soprano Simon Clulow countertenor Iain MacLeod-Jones tenor Greg Skidmore bass ____________________________________________ Wells Cathedral Oratorio Society Chorus ____________________________________________ Music for Awhile Orchestra (on period instruments) Maggie Faultless leader ____________________________________________ Matthew Owens conductor ____________________________________________ This concert takes place in the Cathedral by kind permission of the Chapter of Wells Cathedral. The use of mobile telephones, photography, or recording of any kind is forbidden except by express permission of the Chapter. Printed music supplied by Somerset Libraries, Arts & Information. Wells Cathedral Oratorio Society is affiliated to Making Music. 3 Programme Notes “Next to the Word of preached. Johann God, the noble art of Sebastian Bach was music is the greatest born in the same treasure in the town into a great world.” wrote Martin Lutheran musical Luther. In 1523, family in 1685, just when planning the 200 years after Lu- forms of worship to ther, following him be used in Lutheran as a chorister there. Churches, he insisted He was awarded a that there would be two year choral much greater oppor- scholarship at age 14 tunities for participa- at St. Michael’s tion by congrega- School in Lüneburg. tions and he stressed There he came into the importance of contact with many of music in the training the sons of North of clergy. However German noblemen, Zwingli, another some of whom Protestant leader, would later give him thought music could employment. not be justified by the Bach as Konzertmeister in 1721 scriptures: he banned music in churches In 1703, aged 18, Bach was appointed under his direction, insisting that the or- court musician in Weimar where, in just gans be removed. John Calvin took a posi- seven months, his keyboard reputation tion midway between them and allowed grew to such an extent that he was invited only the unison singing of psalms set to to give an inaugural recital on the new metrical tunes in his churches. organ in St Boniface’s, Arnstadt—and was then given the post of organist there with Luther advocated the continued use of a light duties and a generous salary. modified Latin Mass in the larger churches; the Ordinary was retained but with the In 1717 Bach was hired to serve as Kappel- Credo and Agnus Dei omitted. For smaller meister for Prince Leopold of Anhalt- communities, where there was no musical Köthen. However, the court was Calvinist: training, he produced a Deutche Messe there was no choral tradition and no organ using German vernacular music. He also of any size in the town so Bach’s work retained the Offices, primarily Matins and there was mostly instrumental with some Vespers. Luther was the only Protestant secular cantatas for solo voice. He finally leader who taught that worship should be left after the Prince cut his music budget, essentially musical. partly because his new wife disliked Bach’s music. (Bach described her as amusa — Luther had been a chorister in Eisenach in being without muse). Saxony in the church where he later 4 In 1721 Bach produced a presentation several instruments). No 1 is the only one copy of six concertos and sent them, possi- with four movements and composing it bly as a job application, to Christian Lud- Bach may have used material from the wig, Margrave of Brandenburg. Bach had early secular Cantata 208, first performed composed them when at Cöthen, or possi- in 1713. He later used the first and third bly even earlier when in Weimar. He gave movements in cantatas for services in them the unofficial title of Six Concerts à Leipzig. His covering note to the Margrave, plusieurs instruments (Six concertos for written in French, reads: As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness's commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness designed to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness's most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him. 5 There is no evidence that the Margrave sion of the Kyrie Eleison was composed even replied to Bach; he may never have in 1708-17; the Domine Deus is based on heard the concertos played since his part of the lost cantata Froher Tag, BWV court orchestra did not include the re- Anh. 18; the Qui Tollis and Quoniam are quired range of instrumentalists. based on the sinfonia from Herr, deine Augen, BWV 102; and Cum Sancto Spiritu The full score of the concertos was left is based on the 1st movement from Dazu unused in the Margrave’s library and, ist erschienen, BWV 40. being re-discovered over 100 years later, was first published and performed in Lutheran services during Bach’s time 1850. One unique idea in the Branden- may have lasted nearly three hours, in- burg Concerto No. 1 is the use of hunting cluding readings, a sermon, and hymn horns. The concerto also calls for three (chorale) singing. Luther encouraged oboes and a bassoon, as well as continuo music as an art form that inspired spir- strings and the violino piccolo. Each itual devotion, so musical settings of movement has a brisk pace and extraor- Psalms and other Biblical passages were dinary counterpoint that contrasts be- popular interludes during services. The tween the small concertino group and cantata was generally placed after the the tutti ensemble. These concertos have sermon to serve as a musical counter- since become some of Bach’s most pop- part to the preacher’s message and was ular works, being regarded as one of the the principal piece of music in Sunday highlights of European Baroque music. services and festivals. Bach composed the cantatas around the scripture read- It is as well that the application fell on ings for the day and often used the melo- deaf ears only two years later, in May dies and texts of common Lutheran 1723 Bach applied for the post of Direc- hymns to support the message pro- tor of Music for Leipzig. The Councillors claimed in the biblical texts. During the had wanted Telemann from Hamburg first six years in Leipzig Bach composed and then had four other applicants be- five annual cycles, each of sixty church fore Bach. One Councillor remarked with cantatas, plus at least three Passions. a sigh that “since the best man could not be gotten they must make do with a me- Cantata 140 was written for the 27th diocrity”. Bach held the post for the re- Sunday after Trinity in 1731 using the maining 27 years of his life. gospel reading of the parable of the ten virgins. The chorale written on this sub- In Leipzig, in addition to music for munic- ject by Phillip Nicolai in 1599 was used ipal events Bach was responsible for for movements 1, 4 and 7. By writing on overseeing the music in the four main his compositions “SDG” or in full the churches. Fortunately they were Luther- Latin phrase “Soli Deo Gloria” (to God an and his No. 1 choir, consisting of six- alone be the glory), it is clear that Bach teen singers and eighteen instrumental- sought to honour the God who granted ists, sang on alternate Sundays at the him such superb musical ability. He once two principal churches. wrote that “music is an agreeable har- The Mass in F Major was composed in mony for the honour of God and the per- 1738, possibly for Count Franz Anton von missible delights of the soul.” Sporck and, as was usual, Bach re-used music from earlier works: the first ver- Programme Notes by Neill Bonham 6 Brandenburg Concerto No 1 in F major (BWV 1046) Allegro Adagio Allegro Menuetto: Trio I, Menuetto, Polacca (Polonaise), Menuetto, Trio II, Menuetto Lutheran Mass in F major (BWV 233) 1 Kyrie: Chorus, Kyrie eleison Lord, have mercy Christe eleison Christ, have mercy Kyrie eleison Lord, have mercy 2 Gloria in excelsis: Chorus Gloria in excelsis Deo, Glory to God in the highest, et in terra pax hominibus bonae and on earth peace to people of voluntatis. good will. Laudamus te, benedicimus te, We praise you, we bless you, adoramus te, glorificamus te. we adore you, we glorify you. Gratias agimus tibi propter magnam We give you thanks for your great gloriam tuam.
Load more

Recommended publications
  • Music for Lent Music for Lent
    MUSIC FOR LENT MUSIC FOR LENT The King’s School, Ely The King’s School, Ely CD1 1 DARKE Nine-Fold Kyrie from the Communion Service in F major [1.50] 2 RACHMANINOV Ave Maria op 37 no 6 [3.12] 3 TAVENER Song for Athene [5.59] 4 LOTTI Crucifixus [2.57] 5 GÓRECKI Totus Tuus [9.56] 6 WOOD Nunc Dimittis [3.39] 7 IRELAND Greater Love Hath No Man [6.17] 8 HOLST Turn Back O Man [4.13] [38.10] CD2 MAUNDER Olivet to Calvary Part I 1 On The Way To Jerusalem [3.54] 2 Before Jerusalem [4.01] 3 In The Temple [7.48] 4 The Mount Of Olives [15.18] Part II 5 A New Commandment [7.13] 6 Gethsemane [4.30] 7 Betrayed And Forsaken [7.32] 8 Before Pilate [4.08] 9 The March To Jerusalem [5.18] 10 Calvery [11.11] given in the Lady Chapel & Presbytery of Ely Cathedral. [71.01] Friday 7 March 2008 KING ’S SCHOO L CHAPE L CHOIR , CANTORES ELIENSIS GRAHA M GRIGGS conductor, CATRIONA CL AR K soprano, JOHN MCMUNN tenor, LPCD26 PETER B NORTH baritone & conductor (Cantores Eliensis), JONATHAN LI ll EY organ © 2008 Lantern Productions King’s School Chapel Choir directed by Graham Griggs, Cantores Eliensis directed by Peter North CD1 TENORS Patrick Aspbury, Reggie Chamberlain-King, Luke Cunnah, Joshua Darley Oliver Diss, James Dun- Nine-Fold Kyrie (Communion Service in F major) - Harold Darke (1888 - 1976) calfe, Brad Fulford, Ben German, Sam Graham, Charlie Green, Nicholas Heller, Oliver Hill, Harvey Naylor, Lawrence Perkins Fraser Steele Lok-Man, Tang David Tagg-Oram, Peter North An interesting theme running through this programme is the significance of the Royal College of Music, founded in 1882, and one of its most distinguished and influential teachers on a formidable generation of early C20th composers, Charles Villiers Stanford.
    [Show full text]
  • Journal September 1984
    The Elgar Society JOURNAL ^■m Z 1 % 1 ?■ • 'y. W ■■ ■ '4 September 1984 Contents Page Editorial 3 News Items and Announcements 5 Articles: Further Notes on Severn House 7 Elgar and the Toronto Symphony 9 Elgar and Hardy 13 International Report 16 AGM and Malvern Dinner 18 Eigar in Rutland 20 A Vice-President’s Tribute 21 Concert Diary 22 Book Reviews 24 Record Reviews 29 Branch Reports 30 Letters 33 Subscription Detaiis 36 The editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views The cover portrait is reproduced by kind permission of National Portrait Gallery This issue of ‘The Elgar Society Journal’ is computer-typeset. The computer programs were written by a committee member, Michael Rostron, and the processing was carried out on Hutton -t- Rostron’s PDPSe computer. The font used is Newton, composed on an APS5 photo-typesetter by Systemset - a division of Microgen Ltd. ELGAR SOCIETY JOURNAL ISSN 0143-121 2 r rhe Elgar Society Journal 01-440 2651 104 CRESCENT ROAD, NEW BARNET. HERTS. EDITORIAL September 1984 .Vol.3.no.6 By the time these words appear the year 1984 will be three parts gone, and most of the musical events which took so long to plan will be pleasant memories. In the Autumn months there are still concerts and lectures to attend, but it must be admitted there is a sense of ‘winding down’. However, the joint meeting with the Delius Society in October is something to be welcomed, and we hope it may be the beginning of an association with other musical societies.
    [Show full text]
  • Bach's St John Passion
    in 2014 Saturday 10 May from 9.30am to 6.00pm Come & Sing Day BRAHMS GERMAN REQUIEM with Matthew Owens in Wells Methodist Church Saturday 8 November at 7.00pm BRAHMS EIN DEUTSCHES REQUIEM (in the original German) BRAHMS ALTO RHAPSODY VAUGHAN WILLIAMS THE LARK ASCENDING Katherine Broderick Soprano Rachael Lloyd Mezzo Soprano Darren Jeffery Baritone Thomas Kemp Violin Southern Sinfonia Matthew Owens Conductor Saturday 6 December at 7.00pm HANDEL MESSIAH Lesley-Jane Rogers Soprano Louise Mott Mezzo Soprano David Butt-Philip Tenor Andrew Kidd Bass• Andrew Kidd (Bass) Music for Awhile Orchestra (period instruments) Matthew Owens Conductor 2 Johann Sebastian Bach (1685-1750) St John Passion (Johannes-Passion) BWV 245 ______________________________________ Rogers Covey-Crump Evangelist Ali Darragh Maid & Soprano Simon Clulow Countertenor Mark Hounsell Tenor Dominic Bowe Pilate Christopher Sheldrake Jesus & Bass ______________________________________ Wells Cathedral Oratorio Society ______________________________________ Music for Awhile Orchestra (period instruments) Margaret Faultless Leader Christopher Bucknall Harpsichord Jeremy Woodside Chamber Organ ______________________________________ Matthew Owens Conductor ______________________________________ This concert takes place in the Cathedral by kind permission of the Chapter of Wells Cathedral. The use of mobile tele- phones, photography or recording of any kind is forbidden except by express permission of the Chapter. The Society is grateful for the generous financial support received from Battens Solicitors for this evening’s concert. Printed music supplied by Somerset Libraries, Arts & Information Wells Cathedral Oratorio Society Is affiliated to Making Music. 3 Programme Notes “Next to the Word of God, the noble art of work was again mostly secular with an music is the greatest treasure in the world.” emphasis on dance music.
    [Show full text]
  • Nigel Perrin and Postcode Inspirational Choral Director
    SOUTH COTSWOLD CHORAL GROUP Event host Bach B Minor Mass Workshop Registration Form Please do use this form for multiple bookings – just give all names and the voice sections; consolidate the fee onto 1 cheque if possible. Thank you! I am a member of Choral Society Registered Charity no. 277013 Name(s) A Choral Workshop with Voice(s) SATB Soprano … Alto…. Tenor …. Bass …. Contact Address Nigel Perrin and Postcode Inspirational choral director Telephone / Email Cost How many Total £ Workshop £15 Music Hire £2 J S Bach --- B minor Mass Grand Total £ Please make out your cheque to Thornbury Choral Society “Have fun, tackle new vocal challenges, go home exhausted!” Please complete this form and send together with your payment to: At The Castle School, Thornbury, South Glos. BS35 1HT Julia O’Connor-Beach, 86 Manor Lane, Charfield, Wotton-under-Edge, Glos,GL12 8TY Phone: 01454 260877 E-mail: [email protected] On Saturday 26 May 2012 10.30am – 5pm Confirmation of booking: this will be sent by email (if available). Otherwise, please enclose a stamped addressed envelope if you wish to have your booking confirmed. We regret that £15 per singer (including cake!) refunds cannot be made in the event of your non-attendance. Thank you. [email protected] Julia O’Connor-Beach 01454 260877 SOUTH COTSWOLD CHORAL GROUP Nigel Perrin The seven group members are Cirencester, Fairford and District, Stroud, Thornbury, Tyndale, Wycliffe and Yate Choral Societies. This event will raise funds to assist the group in its work to provide a forum for mutual support, lobbying, and co-operation on events.
    [Show full text]
  • Tonight's Performance
    Sing Tonight’s Performance Words and Music by Joe Raposo CBBC City of Bath Bach Choir - Conductor Nigel Perrin from the Bavarian Highlands Edward Elgar Accompanist – Jamie Knights The Dance Lullaby Laudate Dominum Knut Nystedt The Marksman Locus iste Anton Bruckner Cantique de Jean Racine Gabriel Fauré Interval … Refreshments will be served in the nave of the Church CBBJunior Choir - Conductor Jamie Knights Accompanist – Frances Ringer CBBC Chim Chim Cher-ee Ave verum corpus Wolfgang Amadeus Mozart from Mary Poppins Words and Music by Richard Sherman and Robert Sherman Aesop’s Fables Bob Chilcott Arranged by Lin Marsh The Hare and the Tortoise The Mountain in Labour Ordinary Miracle The Goose and the Swan from Charlotte’s Web Words and Music by Glen Ballard and Dave Stewart Negro Spirituals arr Michael Tippett With A Little Help From My Friends Go down, Moses Words and Music by John Lennon and Paul McCartney Steal away to Jesus Arranged by Peter Hunt Nobody knows the trouble I see, Lord The Kite (Charlie Brown’s Kite) The Passing of the Year Jonathan Dove from You’re A Good Man, Charlie Brown Ah, Sun-flower! Words and Music by Clark Gesner Answer July I’d Like To Teach The World To Sing Words and Music by Roger Cook, Roger Greenway, Bill Backer and Billy Davis Bring Me Sunshine Words by Sylvia Dee and Music by Arthur Kent Arranged by Hawley Ades The Friends of Christ Church Derry Hill would like to thank the two anonymous well-wishers who donated to this event .
    [Show full text]
  • Ppa Magazine 2016
    Issue 17, 2016 The Gossip Bowl The Alumni Magazine PRIOR PARK ALUMNI A Community for Life President’s Letter From The Headmaster IN THIS ISSUE: A Veteran’s Perspective 2 President’s Letter Speech Day, Saturday 2nd July 2016. Tony Bury (1970) was there, but otherwise no-one I recognised from my era. The event went smoothly, the students were 3 From The Headmaster uniformly impressive, the speakers were excellent and the principal guest, Ann Widdecombe, proved to be a 4 - 5 School News natural entertainer. Once the formalities were over, parents and students laid 6 - 7 Prior Park Alumni Update out picnics and alumni rep Carole Laverick and I wandered TERRY ILOTT down to the Mansion for orange juice and canapés. Through it all I struggled to make a meaningful connection 8 Class of 1968 Development Update between the school as it is now and the school as it was in my day. The magnificent architecture hasn’t changed 9 From The Archives and there is still an emphasis on the Catholic tradition, but nothing else really survives. And so it is, I suppose, with all schools: the world moves on and schools move with it. But in our case there is such a sharp and sudden break, dating precisely to 1980 when the 10 - 11 Alumni Cricket Christian Brothers left, that I really did feel in the Mansion Hall as if I spoke a language that I could share with Tony and with no-one else. We relics of the Christian Brothers’ era are 11 Alumni Choir like a vanishing Amazonian tribe.
    [Show full text]
  • Bach (Choir) in Everyday Life and the Mass in B Minor
    COLLEGE OF SOCIAL SCIENCE AND INTERNATIONAL STUDIES DEPARTMENT OF SOCIOLOGY AND PHILOSOPHY THESIS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN SOCIOLOGY J. S. BACH IN EVERYDAY LIFE: THE ‘CHORAL IDENTITY’ OF AN AMATEUR ‘ART MUSIC’ BACH CHOIR AND THE CONCEPT OF ‘CHORAL CAPITAL’ SIGRÚN LILJA EINARSDÓTTIR SUPERVISOR: PROFESSOR TIA DENORA SECOND SUPERVISOR: DR DANA WILSON-KOVACS J. S. Bach in Everyday Life 2012 UNIVERSITY OF EXETER COLLEGE OF SOCIAL SCIENCE AND INTERNATIONAL STUDIES DEPARTMENT OF SOCIOLOGY AND PHILOSOPHY J. S. BACH IN EVERYDAY LIFE: THE ‘CHORAL IDENTITY’ OF AN AMATEUR ‘ART MUSIC’ BACH CHOIR AND THE CONCEPT OF ‘CHORAL CAPITAL’ BY SIGRÚN LILJA EINARSDÓTTYR SUPERVISOR: TIA DENORA SECOND SUPERVISOR: DANA WILSON-KOVACS Submitted by Sigrún Lilja Einarsdóttir to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Sociology in July 2012 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 2 Sigrún Lilja Einarsdóttir J. S. Bach in Everyday Life 2012 ABSTRACT This thesis presents research on an amateur composer-oriented Bach choir. Its main purpose is to study the development of musical identities and musical preferences of choir members as they take shape through the collective learning process of rehearsing and performing large-scale choral music.
    [Show full text]
  • Download Booklet
    The English Poetry and Song Society presents Songs of Dorset Poems of William Barnes and Thomas Hardy in settings by Gerald Finzi, Ralph Vaughan Williams, Clive Carey & Arthur Somervell together with the five best songs from the EPSS composers' competition performed by Stephen Foulkes (baritone) Colin Hunt (piano) Recorded ‘live’ at a concert in the Art Gallery of the Holburne Museum, Sydney Gardens, Bath, on Sunday March 10, 2002 This competition commemorated the bicentenary of the birth of Dorset poet William Barnes and attracted 21 entries. The judges were Stephen Foulkes, Colin Hunt and Nicholas Thorne. The programme This is a live concert recording but applause has been edited out for better enjoyment X Gustav Holst (1874-1934) 1 Sergeant’s Song * 2:00 2 Between us now * 2:29 X Clive Carey (1883-1968) 3 The Spring ** 2:58 X Arthur Somervell (1863-1937) 4 The mother’s dream ** 2:20 X Gerald Finzi (1901-1956) I said to love * 5 I. I need not go 1:56 6 II. At middle-gate field in February 2:58 7 III. Two lips 0:53 8 IV.In five-score summers! 1:52 9 V. For life I had never cared greatly 2:33 10 VI.I said to love 4:05 X Five best songs from the EP&SS composers' competition 2001 11 Roger Lord (1924-2014) Corn a-turnen’ yollow ** (5th) 1:24 12 Alison Edgar (1927-2007) The wind at the door ** (4th) 4:38 13 Judith Bailey (b.1941) Jeäne ** (3rd) 3:19 14 Brian Daubney (b.1929) The storm ** (2nd) 1:40 15 Roger Lord (1924-2014) Come ** (1st) 2:21 X Ralph Vaughan Williams (1872-1958) 16 In the Spring ** 2:51 17 Blackmwore maidens (by the Stour) ** 1:44 18 The Winter’s Willow ** 2:26 19 Linden Lea ** 2:59 total duration 47:33 * denotes poem by Thomas Hardy ** denotes poem by William Barnes Profiles The poets William Barnes (1801-86) was the son of a farmer in the Vale of Blackmore in Dorset.
    [Show full text]
  • Download Publication
    Arts Council () F ( ; R B R I TA [ N Thirty-eighth annua l report and accounts 1982/83 Thirty-eighth Annual Report and Accounts 198 3 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W1V OA U Designed by Duncan Firth Printed by Watmoughs Limited, Idle, Bradford ; and London The Arts Council of Great Britain, as a publicl y The objects for which the Arts Council of Great Britai n accountable body, publishes an Annual Report t o is established are : provide Parliament and the general public with a n 1 To develop and improve the knowledge , overview of the year's work and to record all grant s understanding and practice of the arts ; and guarantees offered in support of the arts . 2 To increase the accessibility of the arts to the publi c A description of the highlights of the Council's wor k throughout Great Britain ; and discussion of its policies appear in the newspape r and Arts in Action which is published in conjunction wit h this Report and can be obtained, free of charge, fro m 3 To co-operate with government departments, loca l the Arts Council Shop, 8 Long Acre, London WC2 an d authorities and other bodies to achieve thes e arts outlets throughout the country . objects . Contents 6 CHAIRMAN'S INTRODUCTIO N 7 SECRETARY-GENERAL'S PREFACE 11 REPORTS FROM THE DEPARTMENT S 16 SCOTLAN D 17 WALES 18 COUNCIL 19 MEMBERSHIP OF COUNCIL AND STAF F 20 ADVISORY PANELS AND COMMITTEE S 24 STAF F 25 ANNUAL ACCOUNTS Funds, Exhibitions, Schemes and Awards 5 Chairman's Introduction The strongest convictio n the year in the various arts .
    [Show full text]
  • WMC SS20 Brochure
    EXPERIENCE WORLD-CLASS CLASSICAL WILTSHIRE FOLK JAZZ AND WORLD MUSIC / MUSIC FAMILY SHOWS / Live LIVESTREAM CENTRE OPERA AND BRADFORD ON AVON BALLET BOOK NOW WHAT’S ON WHAT’S FRIENDS’ PRIORITY BOOKING @wiltshiremusic wiltshiremusic.org.uk 01225 860 100 wiltshiremusic.org.uk 01225 GENERAL BOOKING SPRING SUMMER @wiltshiremusiccentre JAN – JUL 2020 –JUL JAN 25 NOV 2019 NOV 25 11 NOV 2019 NOV 11 PRINCIPAL PARTNERS CREATIVE LEARNING CONCERT LISTINGS 4 CONCERTS AT A GLANCE 20 REGULAR ACTIVITIES / HIRE US 37 BOOKING INFORMATION 38 THANK YOU FUNDERS SPONSOR THANK YOU TO THE FUNDERS, TO OUR SPONSORS, St Laurence Baluji Shrivastav will perform School WELCOME with his Inner Vision Orchestra. WORLD SUPPORTERS SEASON SUPPORTERS We are proud to present a year- MAYA YOUSSEF TRIO 22 Feb …to our Spring Summer We are very grateful to our AND VOLUNTEERS round calendar of special events HIGHLIGHTS FOFOULAH 29 May season at Wiltshire Music donors, members and funders OF WILTSHIRE inspired by our local community FAMILY who help us to deliver our MUSIC CENTRE Centre. We are delighted to including the unmissable Bradford CLASSICAL Roots Festival in January, My “DON’T PICK ME MISS!” FAMILY artistic and creative learning present some of the most CITY OF LONDON SINFONIA 15 Apr Science Fair for budding young SHOW 23 Feb programmes every year, and MAJOR SPONSORS exciting musicians performing scientists in March, and the Big DORIC STRING QUARTET 15 May MINI BSO ‘UP IN THE AIR’ 19 Apr would particularly like to thank SPONSORS today and hope that you enjoy the following supporters: Family Music Day in June.
    [Show full text]
  • Eighth Symphony
    ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor : Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME SEVENTEEN, NUMBER TWO, JULY 2013 Associate Editors Dr Crawford Howie & Dr Dermot Gault In this issue: Eighth Symphony: Report on the Sources Letters to the editor Page 2 Neither Nowak nor Haas wrote a report on the sources for their ed itions of A Remarkable Event - report on Bruckner’s 8th Symphony, so the ongoing controversy over these editions The Bruckner Journal Readers has taken place with only partial knowledge of the necessary evidence. For Conference Page 4 twelve years Professor Paul Hawkshaw has been working on the immense Chorale as Texture in Symphonic task of providing such a repo rt. Almost incredibly, he has been dealing with Music - by Prof. Brian Newbould over 10,000 folios of autograph, copy scores, score fragments, parts, etc., Page 5 and he announced, to a round of applause at the Bruckner Journal Readers On the Circumstances Surrounding Conference in April 2013, that he had completed his report and it had just Loss of Bifolios from the Finale of the been sent to the printers. Ninth Symphony - Dr Edwin Banta The Conference was privileged to hear a summary of his main Page 12 conclusions, along with some highly significant, indeed startling, revelations Reflections on the Reconstruction of about the gestation of the symphony and the apparent necessity of th e the Coda for the Final Movement Schalk brothers’ extensive involvement in its revision, and about how Haas of Anton Bruckner’s 9th Symphony and Nowak dealt with the problems these manifold sources gave rise to.
    [Show full text]
  • Chapter 6 the South Bank Site
    CHAPTER 6 THE SOUTH BANK SITE TAE ORIGINS OF MODERNISM On the South Bank on 4 May 1951, the Combined Exhibition was opened to the general public by the King and Queen. On the following day their Majesties and the public were greeted by, an urban environment of an elegance and gaiety unknown in contemporary Britain..... The plan of the site is a masterpiece of picturesque grouping. Deceptively casual, the irregular building forms leave paths that move into a central concourse. Enchantment is gained, not with conceptual grandeur but by a myriad of detail that entranced as it changes. Strolling across the fountained plaza, sipping tea above the slowly moving barges of the River Thames, or arguing over the ubiquitous works of art, the visitor found himself in ' a world worth having fought for. This inspired piece of brilliance was due to a group of young British architects (most of them were under the age of forty) led by Hugh Casson, who were given an opportunity to introduce the British public to their conception of modern layout design and architecture within the centre-piece of the Festival. The architects and designers exposed the public to a plethora of new exterior and interior designs and materials; nowhere on the site were there any solid structures of heavy stone, instead, pavilions were composed of glass and reinforced concrete supported on pilotis of steel. The use of these materials, together with the layout of the site, created an aura of airy illuminated cheeriness which pervaded the South Bank Site. (See Fig. 1) To most of the British public this was- of course both novel and exciting, but to pretend, however, that the architects and designers conception was new, original, or even completely true to 1.
    [Show full text]