DDOA News July 2020 Draft 2

Total Page:16

File Type:pdf, Size:1020Kb

DDOA News July 2020 Draft 2 July / August 2020 Number 79 Derby & District Organists' Association Registered Charity No. 510567 Newsletter DDOA Events 2020 Tuesday 7th July: Talk by Richard Brice. St Peter’s Belper. POSTPONED to 2021 Monday 28th September: Seminar: ‘Practice Makes Perfect?’ led by Dr Tom Corfield. St Matthew’s, Darley Abbey. Yes, practice makes perfect, but how do we practise? How can we use what time and opportunities we have to maximum advantage? These are vital questions for all of us who are players, but unfortunately there are no easy answers. There are no methods that can be universally applied; there are no routines that will fit every situation. Practice is essentially problem-solving and that will vary from one piece to the next, from one occasion to the next, and of course from one person to another. Perhaps though there are some underlying principles which can help us and perhaps there are certain specific techniques that people might find Early History of the Organ in Britain useful. The meeting offers a chance to explore the topic together and to - Shameful or Glorious? pool ideas. I hope that we will all come away with some thoughts about how we Readers may recall that the in our own lifetime the experience is can practise more effectively. previous issue of the Newsletter unprecedented. featured a report on our visit to Saturday 17th October: Association Pondering on the history of the organs at Repton, Newton Solney Lunch, Horsley Lodge. development of organs and its and Winshill in the Trent Valley. associated culture in Britain, one soon Monday 16th November: AGM and This was a memorable visit for the discovers disruptions that have Chairman’s Evening. quality and variety of the caused organ building to stare in the instruments we heard and played. face of extinction more than once. IAO Midlands Organ Day planned for In retrospect it must be even more Whereas the existence of organs has September has been postponed to 2021. memorable for the fact that being been known since the Roman era, scheduled just two days before the physical evidence in Britain does not national health emergency and exist before Tudor times and the consequent ‘lockdown’, it earliest surviving playable instrument represented a ‘normality’ for organ only dates back to 1704 (St visits that we had totally taken for Botolph’s, Aldgate). Reflecting on our granted; on that day we had no visit to St Wystan’s Parish Church, concept of a culture of ‘social Repton we learned that the new case distancing’ which has prevailed for the rebuilt organ in 1998 “was ever since. We constantly hear inspired by the oldest known in that the ‘normality’ that we have Britain, the c.1540 case at Old been used to will not return for a Radnor in Wales” (photo). Organist, long while yet, and the ‘new Terry Bennett, laments that funds at normal’ will be very different from the time did not allow the protruding the old, but those differences have towers to be imitated, but is yet to be defined. We find nevertheless highly gratified that ourselves living through an historic such a handsome case was achieved, disruption to local, national and even to the point of including four Above: The 1998 Peter Collins Organ at St international life. Such events are embossed pipes imitating its Wystan’s Parish Church, Repton not uncommon in history, the precursor. Comparing the images of Derbyshire village of Eyam is Main photo: c.1540 organ case at St Stephen’s, Repton and Old Radnor, the famous for its social isolation as a Old Radnor, Wales, considered to be the oldest inspiration is clear to see. organ case in Britain. means of fighting the Plague, but might be occasional solo organ items. For the congregation the Catholic mass was conducted ‘on their behalf’ and excluded direct participation. The significance of these factors was that the organ of the period was never a large instrument. When the Reformation came along, aimed at shedding the Catholic past, organs were banished, or perhaps considered to be too small to be worth saving. The suppression of monasteries intensified the destruction of many cultural artefacts. Thus for organs there was a great disruption and break from the past. Development of its technology and culture came to an abrupt end and no organs were made in Britain between 1560 and 1590. This was in tragic contrast with the vibrant and innovative organ building culture on the continent which developed to fulfil the increasing status of the Thomas Dallam’s organ, commissioned by The Wetheringsett Organ (Goetze & Gwynn, 2001) organ as a symbol of wealth Elizabeth I as a gift to Sultan Mehmet III, was amongst competing cities and ruling essentially a clockwork driven barrel organ, Recently, on revisiting The English dynasties. When eventually organs equipped with a keyboard, a clock and Organ (TEO) DVDs, I was reminded came back into favour, the most miscellaneous mechanical animations. that the Old Radnor case (in Wales) Standing sixteen feet high, the oak case is successful builder was Thomas carved, painted and gilded. The organ can is where Daniel Moult begins his Dallam who, amongst several be played manually and the clockwork can odyssey in search of the origins of prestigious commissions, built play five songs. The 24 hour clock shows the the ‘English’ organ. The origin of organs for Kings College Cambridge, Sun’s position and the phases of the Moon. the case is unclear, but scholars are Worcester Cathedral, Tewkesbury On the hour the instrument would give a performance as follows: confident that it dates from the Abbey and most famously an organ Trumpeters play - Queen Elizabeth raises her reign of Henry VIII. What is certain for Sultan Mehmet III in 1599. The sceptre - Planets revolve around the Queen - is that it was sensitively restored in latter was a gift from Elizabeth I to Bells play a four part melody - Birds sing and 1872 under the supervision of Revd. the new ruler of the Turkish flutter in a holly bush - A talking head tells the Frederick Sutton, an ardent Ottoman Empire, presumably oiling time. advocate of gothic organ design, the wheels towards a new trade and a brand new organ by deal for spices. and down the country during and J.W.Walker installed within. We can after the Civil War (1649-60). It transpired that Thomas Dallam only guess about the original Puritans regarded organs as headed a dynasty of organ builders contents of the case but the idolatorus; unaccompanied singing with son Robert and grandson discoveries of the remains of a 16th of metrical psalms was the only Thomas II, but catastrophe struck century soundboard at music allowed during Cromwell’s the organ business again when Wetherinsett, Suffolk in 1977 have rule. The Dallam’s response was Oliver Cromwell’s troops got to work given vital clues about a Tudor to flee to Brittany where there was smashing organs in churches up organ: 46 notes and 7 stops. On plenty of money still to be made the basis of this fragmentary building organs. Come the physical evidence, Goetze and Restoration of the Monarchy and Gwynn have built a modern the reign of Charles II, Robert reconstruction, the Wetheringsett returned to England and took full Organ, and recordings on this by advantage of the national mood to Moult feature in the TEO DVD set. get back to 1642, as if the interim The modest size of this organ, had never happened. Charles II, thought to be typical of instruments having spent time during exile at in the period, reflects its limited role Versailles, brought back a Baroque in the liturgy of the time. In huge influence to popular fashion. contrast to what we have become Unsurprisingly, the organs that familiar in modern usage in parish Robert Dallam built on his return churches and cathedrals, the organ contained the sounds of French was rarely an accompanying reeds and mutations. Thus the instrument. Nicholas Thistlethwaite momentum for building organs was has described the musical demands re-established paving the way to of pre-reformation services in which the prolific era of the 18th century The ‘Milton’ organ at Tewkesbury Abbey, built by the role of the organ was to with builders Renatus Harris (a Thomas Dallam in 1631 originally for Magdalen alternate with singers rather than to College Oxford. Having been much altered down grandson of Thomas Dallam), accompany verses of psalms. There the ages, only the case is Dallam’s. ‘Father Smith’ and others in great 2 demand, and the outpouring of those music, pioneered by Samuel Wesley, glorious cornet voluntaries by amplified by Mendelssohn’s visits to Stanley et al. As well as fulfilling the Britain and promoted through the needs of churches, organs were ventures of Gauntlet and Hill. (See frequently installed in music rooms, Bach in England, Newsletter 75 theatres and pleasure gardens that November 2019). The Bach sprang up in this period. As music awakening, had a profound effect on making found a wider audience, it the course of organ building, laying became a major cultural and social the foundations of the form of activity, attracting musicians and instruments we inherit today. The composers from all over Europe, development of organs in the most notably Handel and J.C.Bach. Victorian era and beyond into the The 18th century became a golden 20th century deserves more than age for music in England. one further article. In the meantime I strongly recommend investing in Returning to the starting point of The English Organ DVD set in which our story, it is sad that the loss of Daniel Moult tells the complete story historical instruments wrought by the with ample demonstrations on turbulence of the Reformation and historic and contemporary Civil War has deprived us of physical instruments.
Recommended publications
  • Classical Series 1 2019/2020
    classical series 2019/2020 season 1 classical series 2019/2020 Meet us at de Doelen! Bang in the middle of Rotterdam’s vibrant city centre and at a stone’s throw from the magnificent Central Station, you find concert hall de Doelen. A perfect architectural example of the Dutch post-war reconstruction era, as well as a veritable people’s palace, featuring international programming and festivals. Built in the sixties, its spacious state- of-the-art auditoria and foyers continue to make it look and feel like a timelessly modern and dynamic location indeed. De Doelen is home to the Rotterdam Philharmonic Orchestra, with the very young and talented conductor Lahav Shani at its helm. But that is not all! With over 600 concerts held annually, our programming is delightfully varied, ranging from true crowd-pullers to concerts catering to connoisseurs, and from children’s concerts to performances of world music, jazz and hip-hop. What’s more, de Doelen is the beating heart of renowned cultural festivals such as the IFFR, Poetry International, Rotterdam Unlimited, HipHopHouse’s Make A Scene and RPhO’s Gergiev Festival. Check this brochure for this season’s programme. You will hopefully be as thrilled as we are with what’s on offer. Meet us at de Doelen and enjoy! Janneke Staarink, director & de Doelen team Janneke Staarink © Sanne Donders classical series 3 contents classical series 2019/2020 season preface 3 Pierre-Laurent Aimard © Marco Borggreve Grupo Ruta de la Esclavitud © Claire Xavier classical series 6 - 29 suggestions per subject 30 chronological overview 32 piano great baroque ordering information 36 From classics to cross-overs: the versatility of the This series features great themes and signature baroque floor plans 38 piano takes centre stage.
    [Show full text]
  • Bach Academy Bruges
    ENGLISH Wed 24 Jan — Sun 28 Jan 2018 BACH BEWERKT BACH ACADEMY BRUGES Bach rearranged — 01 — Dear music lover Festival summary Welcome to this eighth Bach than composing for religious services: WED 24 JAN 2018 15.00 Concert hall 17.00 Chamber music hall seeking the essence of music, distilling out BELGIAN PREMIERE Oxalys & Bojan Cicic Academy, with a programme that its language as far as he was able. 19.15 Stadsschouwburg Dietrich Henschel All roads lead to Bach focuses on the parody. The last ten years of his life saw the Introduction by Gloria Schemelli’s Gesangbuch p. 20 composition of the second part of the Carlier (in Dutch) p. 10 Well-Tempered Clavier, the Goldberg 19.15 Chamber music hall As you undoubtedly know, Bach frequently Variations, the Von Himmel Hoch choral 20.00 Stadsschouwburg 17.00 Chamber music hall Introduction by Ignace drew on music by other composers or his variations, The Musical Offering, the Mass Mass B Christine Busch & Bossuyt (in Dutch) own earlier work to mould into new works of in B minor and The Art of the Fugue. None Béatrice Massin & Jörg Halubek his own. The Mass in B minor, for example, of these compositions was written on Compagnie Fêtes galantes Bach. Violin sonatas 20.00 Concert hall is a brilliant interweaving of largely commission. For these works, Bach was i.c.w. Cultuurcentrum Brugge p. 11 Collegium Vocale Gent refashioned parts of earlier cantatas with driven only by artistic inspiration. They So singen wir recht das earned him nothing, and only thirty copies 19.15 Chamber music hall Gratias newly-composed passages.
    [Show full text]
  • GÖTEBORG INTERNATIONAL ORGAN ACADEMY 13–15 September 2012
    GÖTEBORG INTERNATIONAL ORGAN ACADEMY 13–15 sEPTEMBER 2012 The North German Chorale Fantasias and Georg Böhm’s Organ Works 1 TABLE OF CONTENTS VÄLKOMMEN! WELCOME! Informationcover inside 2 Göteborg har utvecklats från en hamn- och in- At the beginning of the twenty-first century, Welcome 3 dustristad till ett regionalt centrum för näringsliv, Göteborg has undergone a metamorphosis from its Göteborg International Organ Academy 2012 4 utbildning, forskning och kultur. Göteborgs Sym- historical position as a harbor city and an industrial The Göteborg International Organ Academy 5 foniker är, sen ett antal år, Sveriges nationalorkes- center into a regional center for business, educa- Academy programme 2012 6-7 ter, vid älven står vårt vackra operahus, på många tion, research and culture. For some years, the Concert programmes and Vespers 8-12 scener i staden pågår intensiva teateraktiviteter, Göteborg Symphony Orchestra has also been the Master-classes 13 Göteborgs Filmfestival och bokmässan är händelser National Orchestra of Sweden. The beautiful Göte- GOArt library and instruments on display 13 av internationell betydelse och högskolevärlden borg Opera stands on the banks of the Göta River. Biographies 13-19 kan inte bara uppvisa forskningsfält av internatio- The city’s many stages support an active theater Organ specifications 19-22 nell betydelse utan ger också betydande bidrag till scene. The annual Film Festival and Book Fair are Artisten, Bjurum organ 19 kulturlivet i form av konst, formgivning, musik, international events, and Göteborg’s universities Artisten, Gustavsson & Kjersgaard organ 20 teater, internationella vetenskapsfestivalen, osv. not only support research of international signifi- Haga Church, Brombaugh organ 20-21 cance, but also make important contributions to Örgryte New Church, Willis organ 21-22 Kulturlivet bygger också broar till andra delar the city’s cultural life, in the areas of art, music, Concerts and Vespers 23 av Europa.
    [Show full text]
  • Dieterich Buxtehude's Membra Jesu Nostri: an Historical Overview, Analysis and Conducting Guide by Youn Ju Kim a Research Pa
    Dieterich Buxtehude’s Membra Jesu Nostri: An historical overview, analysis and conducting guide by Youn Ju Kim A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2012 by the Graduate Supervisory Committee: Gregory Gentry, Chair Gary Hill William Reber Rodney Rogers Timothy Russell ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Dieterich Buxtehude (ca. 1637-1707) is known for his many organ works. However, no significant portion of his choral music is in the standard performing repertoire. Buxtehude’s large-scale choral work Membra Jesu Nostri should be considered a seminal “passion” composition in part because of its historic position in early German Lutheran church music. It also serves as an example of the heightened levels of affect in a seventeenth century devotional passion. To better understand Buxtehude and his music, an overview of his life, career and religious beliefs are discussed, including the incorporation of pietism and mysticism in his cantata, Membra Jesu Nostri. Details of the composition’s structure, unifying thematic elements and text sources with translations are included. Historical performance practices are discussed, including the composer’s probable intent of having one of the seven cantatas performed every day before Easter. This research study also provides conductors with a variety of practical performance considerations. Through these observations, it will be shown that Buxtehude’s Membra Jesu Nostri is one of the most well-conceived and well-constructed choral works of the early Baroque era. i DEDICATION In nomine Jesu, Soli Deo Gloria (In the name of Jesus, to God alone be the glory) And to my parents Kim, Ha Sub and Lee, Jung Ji My love and respect will always be with you.
    [Show full text]
  • 04047 VANWIJNEN BIJBEL VAN BACH EN V3.Indd 1-3 09-09-13 16:10 ❖
    , David O. Berger Nikolaus Harnoncourt, together Nowhere are we closer librarian emeritus of with Gustav Leonhardt the fi rst Concordia Seminary conductor to record a complete to Bach’s heart. Library in St. Louis, cycle of Bach’s cantatas using pe- where the Bach/Calov riod instruments: Bible resides: Read over Bach’s shoulder. “Bach’s Bible is highly interesting for any musician who performs his music and for everyone who loves his music. - How did he Subscription to the read his Bible - what did he write in the margins? My best deluxe edition with huge “As the only known extant books from the library of J. S. Bach wishes for this wonderful project.” listed for probate at the time of his death, the Calov Bible price advantages is now open. commentary provides a unique window into Bach’s use of Holy Scripture. From supplying missing words to underlining Prof. Dr. Ton Koopman, conduc- Bach’s and annotating the text, it’s clear that Bach was intimately tor, organist, harpsichordist, pro- own Bible acquainted with his Bible. The publication of Uitgeverij Van fessor of historically informed Wijnen makes this musico-theological treasure available to performance practice at Leyden lovers and scholars of Bach in a number of disciplines and to University: all collectors of fi ne facsimiles. Concordia Seminary takes great pleasure in partnering with the publisher in making it possible “The Bach/Calov Bible is a unique to share these valuable volumes with a world-wide clientele.” document. J.S. Bach comments BACH’S OWN on the Bible and this document has been preserved.
    [Show full text]
  • Chan-Telus 2
    February 3, 2016 at The Chan Centre Early Music Vancouver board of directors Tony Knox president Spencer Corrigal cpa,ca treasurer Sharon Kahn past president Stuart Bowyer Chris Guzy Tim Rendell cpa,ca Ingrid Söchting Vincent Tan Mark Vessey Fran Watters CultureCulture is the expression is the expression of Canada’s soul; of itCanada’s defines soul;La culture it defines est l’expression us andde l’âme helps du Canada. bring ÷ us and helps bring us together. The Government of Elle contibue à nous définir et à nous unir. Le Canadaus together.places great valueThe onGovernment culture and is of Canadagouvernement places great du Canada value accorde on culture beaucoup committedand is to committed supporting the artsto supportingand our artists. Thisthe artsd’importance and our artists. à la culture, This et il isa à whycœur de we soutenir José Verstappen cm is why we are proud to support these performances les arts et les artistes canadiens. C’est pour cette artistic director emeritus by Earlyare proudMusic Vancouver. to support Through these its ecclectic performances raison by queEarly nous Musicsommes fiersVancouver. d’appuyer la performances and other artistic activities, this présentation de ces concerts par l’organisme Early organizationThrough gives its Canadian ecclectic musicians performances the chance to andMusic other Vancouver. artistic Grâce activities, a ses spectacles this et autres ÷ demonstrateorganization their talent gives and bring Canadian our culture musicians to life. activités the chance artistiques, to cetdemonstrate organisme donne la chance It lets music lovers discover melodies and harmonies aux musiciens canadiens de faire valoir leur talent et thattheir may come talent from and a distant bring time, our but stillculture have the to life.d’animer It lets notre music culture.
    [Show full text]
  • St John Passion by J.S. Bach Text and Translation
    St John Passion By J.S. Bach Performed by the Netherlands Bach Society Conducted by Jos van Veldhoven Grote Kerk, Naarden Text and Translation TEXTS & TRANSLATIONS Erster Teil Part One 1. Chor 1. Chorus Herr, unser Herrscher, dessen Ruhm Lord, our ruler, Whose fame In allen Landen herrlich ist! In every land is glorious! Zeig uns durch deine Passion, Show us, through Your passion, Daß du, der wahre Gottessohn, That You, the true Son of God, Zu aller Zeit, Through all time, Auch in der größten Niedrigkeit, Even in the greatest humiliation, Verherrlicht worden bist! Have been glorified! 2. Evangelist 2. Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, Jesus went with His disciples over the brook Cedron, da war ein Garten, darein ging Jesus und seine Jünger. where there was a garden, into which Jesus entered Judas aber, der ihn verriet, wußte den Ort auch, denn with His disciples. Judas, however, who betrayed Jesus versammlete sich oft daselbst mit seinen Jüngern. Him, also knew the place, for Jesus often met there Da nun Judas zu sich hatte genommen die Schar und with His disciples. Now Judas, having gathered a der Hohenpriester und Pharisäer Diener, kommt er band of servants of the high priests and Pharisees, dahin mit Fackeln, Lampen und mit Waffen. Als nun came there with torches, lamps, and weapons. Now Jesus wußte alles, was ihm begegnen sollte, ging er hin- Jesus, knowing all that would happen to Him, went aus und sprach zu ihnen: out and said to them: Jesus Jesus Wen suchet ihr? Whom do you seek? Evangelist Evangelist Sie antworteten ihm: They answered Him: Chor Chorus Jesum von Nazareth.
    [Show full text]
  • LEONHARDT (Musicians and Composers of the 20Th Century
    Fitch, Frances Conover. Musicians and Composers of the 20th Century, s.v. "Gustav Leonhardt." Armenia, New York: Salem Press, 2009. Used by permission of EBSCO Information Services. A preeminent figure in the Early Music movement of the twentieth century, early keyboard player Gustav Leonhardt influenced countless students, record buyers, concertgoers, and musician colleagues through his energetic, quietly passionate performance and leadership style, his impeccable scholarship, and his brilliant and sophisticated mind. He championed the cause of the music he played and respected, rather than his own virtuosity, though that was remarkable. As a teacher and conductor he encouraged in his fellow musicians a sense of humility and curiosity about European music of the seventeenth and eighteenth centuries. He taught them how to breathe life into a repertoire that was, at the time, being performed in an abstract and largely intellectual manner. His particular insight into the concept of Baroque music as speech, and the role of rhetoric and articulation in creating that speech set his playing of the harpsichord apart from that of his contemporaries. The Life: Gustav Leonhardt was born into a musical Dutch-Austrian family, between the two world wars. His childhood home was in ‘s Graveland, a country town with stately homes near Hilversum in the province of North Holland, The Netherlands. His parents were accomplished amateur musicians with eclectic tastes in music, and the study of music was expected in their household. Gustav and his sister, Trudelies, were steered toward the piano and a harpsichord that their parents had bought for occasions when they played chamber music of Bach and Handel.
    [Show full text]
  • Dietrich Buxtehude (1637-1707) Was a Student of Heinrich Scheidemann, Organist in Hamburg and a Student of Sweelinck
    Buxtehudebookletnw 26/1/06 11:21 Pagina 1 CHANNEL CLASSICS CCS SA 24006 d.buxtehude Membra Jethesu netherlandsNostri bach society Jos van Veldhoven conductor Buxtehudebookletnw 26/1/06 11:21 Pagina 2 The Netherlands Bach Society Jos van Veldhoven conductor Anne Grimm soprano 1 Johannette Zomer soprano 2 Peter de Groot alto Andrew Tortise tenor Bas Ramselaar bass Antoinette Lohmann violin Pieter Affourtit violin Mieneke van der Velden viola da gamba (also continuo) Eva Reiter viola da gamba Josh Cheatham viola da gamba Ricardo Rodriguez Miranda viola da gamba (also continuo) Nick Milne viola da gamba Lucia Swarts violoncello Dane Roberts double bass Pieter Dirksen organ & clavicord Mike Fentross theorbo Illustration 1: Title page of Membra Jesu Nostri (Uppsala, University Library) 2 Buxtehudebookletnw 26/1/06 11:21 Pagina 3 t is now fairly certain that Dietrich Buxtehude (1637-1707) was a student of Heinrich Scheidemann, organist in Hamburg and a student of Sweelinck. Buxtehude’s studies would have occurred around I 1655. At this time his fellow student was Johann Adamsz Reincken of Deventer, who would become his lifelong friend. Thanks to this friendship, he became one of that impressive group of organist- composers from the Baltic area, known collectively as the ‘Sweelinck school’. Their elevated, ‘learned’ composing style and virtuosity as performers and improvisers amounted to a carefully guarded ‘secret’ which could only be transmitted among the members of this guild, from teacher to student. While the first generation of Sweelinck’s students, the most important of whom was Scheidemann, confined themselves primarily to organ playing and composing for the organ, their students, in turn, went a step further.
    [Show full text]
  • Sato and the Romantics
    BLAZING BAROQUE Sydney, Melbourne and Brisbane July/August 2016 Paul Dyer AO Artistic Director Shaun Lee-Chen Baroque Violin Australian Brandenburg OrchestraSATO & THE ROMANTICS PROGRAM Sammartini Overture to the opera Memet, J-C 88 Vivaldi Concerto for violin in D major, RV 208, Grosso mogul Telemann Grand Concerto in D major, TWV deest Interval Vivaldi Concerto for several instruments in F major, RV 569 Telemann Concerto for flute & recorder in E minor, TWV 52:e1 Fasch Concerto in D major, FWV L:D4a Sydney Melbourne Brisbane City Recital Hall Melbourne Recital Centre Queensland Performing Arts Centre Wednesday 27 July, 7pm Saturday 30 July, 7pm Monday 8 August, 7:30pm Friday 29 July, 7pm Sunday 31 July, 5pm Wednesday 3 August, 7pm Friday 5 August, 7pm Saturday 6 August, 7pm Matinee Saturday 6 August, 2pm Chairman’s 11 Proudly supporting our guest artists. The duration of this concert is approximately 2 hours including interval. We kindly request that you switch off all electronic devices during the performance. This concert will be broadcast on ABC Classic FM on Thursday 11 August, 1pm. PRINCIPAL PARTNER PRINCIPAL PARTNER 1 SATO & THE ROMANTICS Sydney and Melbourne September 2016 Shunske Sato Guest Director, Violin Paul Dyer AO Artistic Director, Conductor Australian Brandenburg Orchestra PROGRAM Mendelssohn String Symphony No.3 in E minor, MWV N 3 Grieg Holberg Suite, Op. 40 Interval Paganini Violin Concerto No. 4 in D Minor, MS 60 Sydney Melbourne City Recital Hall Melbourne Recital Centre Wednesday 7 September, 7pm Saturday 10 September, 7pm Friday 9 September, 7pm Sunday 11 September, 5pm Wednesday 14 September, 7pm Friday 16 September, 7pm Saturday 17 September, 7pm Matinee Saturday 17 September, 2pm Chairman’s 11 Strengthening our communities Proudly supporting our guest artists.
    [Show full text]
  • Download Booklet
    CKD 354 Also AvAilAble from the DuneDin Consort on Linn reCorDs George Frideric Handel Messiah Dublin Version, 1742 – CKD 285 Also available as a 180g 3-LP collection – CKH 312 2007 CLAssiC FM GrAMoPHone AWArD Winner 2008 MiDeM CLAssiCAL AWArD Winner ‘The freshest, most natural, revelatory and transparently joyful Messiah I have heard in a very long time.’ – GrAMoPHone ‘Youth, freshness, joy: these are the chief characteristics of this intimate new Messiah....’ – tHe tiMes ‘Stylish, fresh... more intimate.’ – BBC MusiC MAGAZine Johann Sebastian Bach Matthew Passion Last Performing Version, c.1742 – CKD 313 ‘The playing and the singing is outstanding. Highly recommended.’ ★★★★★ – tHe oBserVer ‘My new benchmark.’ ★★★★★ – BBC MusiC MAGAZine ‘There’s no doubt that this one is the pick of this year’s crop... tinglingly vivid... beautifully coloured.’ ★★★★★ – tHe GuArDiAn George Frideric Handel Acis & Galatea Original Cannons Performing Version, 1718 – CKD 319 2009 CLAssiC FM GrAMoPHone AWArDs FinAList CD of the Month: ‘...utterly magical.’ – GrAMoPHone Opera & Vocal Disc of the Month: ‘... the freshness with which they sing radiates joy throughout the entire score.’ – CLAssiC FM MAGAZine Mass in B minor J S Bach (1685-1750) Mass in B minor BWV 232 Edition: Breitkopf & Härtel, edited by Joshua Rifkin (2006) Johann Sebastian Bach Dunedin Consort & Players John Butt director ach’s Mass in B Minor is undoubtedly his most spectacular choral work. BIts combination of sizzling choruses and solo numbers covering the gamut DISC 1 of late-Baroque vocal expression render it one of the most joyous musical 6 Et resurrexit ............................................................... 4.02 experiences in the western tradition. Nevertheless, its identity is teased by ................................
    [Show full text]
  • Buxtehude Membra Jesu Nostri
    Buxtehude Membra Jesu nostri Emma Kirkby soprano The Purcell Quartet Elin Manahan Thomas soprano Michael Chance counter-tenor Charles Daniels tenor Peter Harvey bass Fretwork CHANDOS early music Autograph title page of Buxtehude’s ‘Membra Jesu nostri’ Dietrich Buxtehude (c. 1637–1707) Membra Jesu nostri, BuxWV 75* 65:15 I. Ad pedes 1 1 Sonata 0:45 2 2 Tutti. Ecce super montes 1:14 3 3 Aria. Salve mundi salutare 4:59 4 4 Tutti. Ecce super montes 1:16 5 5 Tutti. Salve mundi salutare 0:59 II. Ad genua 6 6 Sonata in tremulo 1:04 7 7 Tutti. Ad ubera portabimini 1:34 8 8 Aria. Salve Jesu, rex sanctorum 3:44 9 9 Tutti. Ad ubera portabimini 1:39 III. Ad manus 10 10 Sonata 0:56 11 11 Tutti. Quid sunt plagae istae 1:58 12 12 Aria. Salve Jesu, pastor bone 5:07 13 13 Tutti. Quid sunt plagae istae 2:15 IV. Ad latus 14 14 Sonata 0:26 15 15 Tutti. Surge, amica mea, speciosa mea 1:44 16 16 Aria. Salve latus salvatoris 4:40 17 17 Tutti. Surge, amica mea, speciosa mea 1:58 3 V. Ad pectus 18 18 Sonata 0:40 19 19 Voci. Sicut modo geniti infantes rationabiles 2:20 20 20 Aria. Salve, salus mea, Deus 5:21 21 21 Voci. Sicut modo geniti infantes rationabiles 2:40 VI. Ad cor 22 22 Sonata 1:48 23 23 Doi Soprani è Basso. Vulnerasti cor meum 2:21 24 24 Aria. Summi Regis cor, aveto 3:04 25 25 Doi Soprani è Basso.
    [Show full text]